M AY 2 0 1 4 “Celebrating 90 Years Of Supporting Music Education In New Jersey”
The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education
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Volume 68, No. 4
Music And Arts Education Added To NJ School Performance Reports, by Nicholas Santoro
20 Embracing Teacher Evaluation: Why Music Educators Should Learn To Love The Danielson Framework, by Jeff Santoro 22
If We Build It, They Will Come: Using Music Technology To Reach “The Other 80%” In Secondary School Programs, by Rick Dammers & David Brian Williams
When PreK Music Is Added To The Schedule, by Amy Burns
NJMEA Salutes New Jersey’s Outstanding Musicians
Snare Drum Technique For The Non-Percussionist, by Domenico E. Zarro
Choosing Our Words With Care…Talk About Students With Disabilities, by Maureen Butler
I Know The Way Out, by Thomas McCauley
Listen And Learn: The Key To Effective Secondary General Music Instruction, by George Ober & Joe Pergola
New Jersey Young Composers Competition Finals, by Andrew Lesser
A Little Known Fiddle Style, by Elizabeth Kane
Guitars, Mandolins & So Much More, by Thomas Amoriello
Would You Like To Become A Mentor?, by Christine Plonski Sezer
What Is The Band Sound Of The Future, by William L. Berz
NJMEA 2014 Awards, by William McDevitt
NJMEA 2014-2015 Calendar ATTENTION MEMBERS: Please go to nafme.org to record email and address changes. TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone: 732-367-7195 Fax: 732-367-7195 e-mail: firstname.lastname@example.org Deadlines: October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: email@example.com or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 firstname.lastname@example.org
MAY 2014 DEPARTMENTS AND NJMEA BUSINESS
Advertisers Index & Web Addresses.......87 Board of Directors.................................84 Division Chair News.......................... 6-18 Editorial Policy & Advertising Rates......86 From The Editor......................................4 In Memoriam........................................83 Past-Presidents.......................................86 President’s Message.............................. 2-3 Resource Personnel................................85 Round the Regions.......................... 78-81 FORMS AND APPLICATIONS See NJMEA.ORG
“Files and Documents” for downloadable copies of all forms & applications
Distinguished Service Awards................. 66 Master Music Teacher Award.................67 Outstanding School Board Award.....68-69 School Administrator Award.................. 70 All-State Opera Festival..........................71 All-State Orchestra Scales..................72-73 All-State Orchestra Solos........................74 All-State Band Solos...............................75 2015 Wind Band Academy Ens.............76 NAfME Membership............................. 88
The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization. TEMPO (ISSN 0040-3016) is published four times during the school year: October, January, March and May. It is the official publication of the New Jersey Music Educators Association. The subscription rate for non-members is $20.00 per year. The subscription for members is included in the annual dues. A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer. Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor. Volume 68, No. 4, MAY 2014 TEMPO Editor - Thomas A. Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191
2014 NAfME NATIONAL CONFERENCE October 26-29, 2014 Nashville, TN NJMEA CONFERENCE February 19 - 21, 2015 East Brunswick, NJ
JOSEPH JACOBS 609-335-6429 JJacobs@Veccnj.org Website: http://www.njmea.org
Sharing The Good News
include creativity, curiosity, inspiration, collaboration, communication, determination and motivation. Music education is more than just a supplemental course. It provides skills that are certainly needed for students to succeed in the 21st century. There is a wealth of material and information that supports the argument for music in our schools. Please visit broaderminded.com and support this endeavor to promote music education in our schools. The NAfME 2014 All-National Honor Ensembles will perform on October 29th at the Grand Ole Opry House. This performance is one of the highlights of the NAfME National In-Service Conference that will take place this year from October 26th until October 29th in Nashville. Student eligibility requirements and additional information can be found on the NAfME website. The student application deadline is May 16th.
n January 28, 2014 the Christie Administration unveiled the 2013 School Performance Reports. The headline of the press release was: “New Jersey is first state to include arts instruction in school-level reports.” The NJ Department of Education stated that the reports for the 2012-2013 school year marked the first time that participation in arts education has been included in any state’s annual school-level report. Visual and performing arts are one of the nine curricular areas that must be taught in all NJ public schools. The School Performance Reports do not measure student grades or test scores in the arts but only the percentage of students in each high school who are enrolled in courses that would help them fulfill the five-credit requirement. The initial data shows 47% of high school students (200,000) were enrolled in one or more classes in the four arts disciplines (Dance, Music, Theater, and Visual Arts) in 2012-13. The reports also included the state average for each discipline so schools and communities could compare their results to the averages for the entire state. NJMEA was quoted in the initial press release as supporting the inclusion of arts education measures in the school performance reports. We were also given the opportunity to share our viewpoint with “NJ Spotlight” which is a nonpartisan, independent online news service that delivers insight and information on issues critical to NJ. All of the major NJ newspapers covered this event. Many NJ politicians and educational leaders also approved of this decision including: former Education Commissioner Chris Cerf; Assembly Republican Leader Jon Brammick; Assemblyman Patrick Diegnan Jr.; NJEA President Wendell Steinhauer; and NJ Arts Education Partnership Chair Bob Morrison. We have begun sharing our good news about music education with the “The Beat” which is an online newsletter published by the New Jersey Arts Education Partnership. There are over 500 subscribers. The newsletter spotlights events, workshops, conferences, and stories of success as well as time sensitive information. I encourage you to subscribe to this newsletter. Additional information can be found at www.artsednj.org
2015 All Eastern Conference Preparations for the 2015 Eastern Division Conference scheduled for April 9th to April 12th have begun. This event will take place in Providence, Rhode Island and offers various opportunities for music educators including the possibility of having your performing group participate. Another option is to present a session at this prestigious conference. The application and additional information can be found at http://nafme-eastern.org. The deadline for submitting applications to perform or present is June 1st. The AllEastern Honors Ensemble information will also be available on this website but is not posted as of the deadline for this article. Thanks! In closing I would like to take this opportunity to thank you as members of NJMEA. Together we were able to provide many educational opportunities for our students and colleagues that demonstrated the importance of music education. At the state, regional, and school level the tremendous amount of work that was done to promote music is amazing. We were all dealt some challenges this year including weather and other events beyond our control, but the professionalism, commitment, and passion for our students that was displayed by our NJMEA members is commendable. Thank you for all that you do for our students and music education. You do make a difference!
NAfME On February 17th NAfME launched a new advocacy movement titled “Broader Minded.” This campaign focuses on the unique and inherent benefits of music education. These benefits TEMPO
NJMEA Welcomes The Following Members Who Recently Joined NAfME/NJMEA. Erin Abbott Hassan Abdur-Raheem Sandra Addison Tyler Adel Carol Adelson Alan Amira Jeanne Andrews Chryaelle Angderson Mia Angelella Laurie Arslanyan Sarah Bamber Michelle Barker Thomas Bender Jim Bogert Melissa Bohl Kristen Boyer Matthew Brady Dana Brannan Scott Burzynski James Caulfield Terri Cerritto Peter Certo Alison Cogswell Matt Cohen William Conn Edward Cooke Sarah Culp Michael Daly Karen Dudley Andrew Ennis Michael Faugno Carl Faust Gregory Gaffney Joseph Gall Samantha Gans Rachael Gareau
Thomas Gaydos Cheryl Glitz Joao Goncalves Armando Gonzalez Amanda Gorzynski Gregory Grispart Rebekah Hamilton Randy Hanas Kara Hartzell Linda Heffentrager Theodore Hendricks Christopher Henke Huy Ho Michael Holack Heather Holcombe Shannon Hughes Erik Jacobsen Brenda Janice Andrew Jaworski Alexandra Jenkins Heid Jensen Sun Boon Jeong Erin Jorgensen Chad Justis Patricia Kearns Mia Kirk Jennifer Klaiss Amanda Klouser Catherine Kusters Sarah Mae Lagasca Ryan Lambe Jenny Lau Brittney Leghorn Jacqueline Leiva Sam Levine Julia Linn
Daniel Lipper Christy Luberger Eugene Magalif Joseph Mariany Matt Martin Brian McGowan Michelle McGuire Carly Mcilvaine York Laura Micalowski Tyler Mills John Nester Beth Nichols Aimee Nishimura Elizabeth Nowik Peter Oswald Dorothy Pagliarini Beth Patten Christina Paulin John Perillo Shirlene Perini Laurie Perry Heidi Peterson Jessica Peyton Steve Pittman Reita Powell Melissa Puri Randy Raab Kaitlyn Reiser Martha Riley Lisa Romero Matthew Rossi Stephen Schaefer Kathy Schappel Lauren Schmidt Elizabeth Serwin Dana Shamy
Mengwei Shen Catherine Solino Emily Steeber Ruth Stitt Pamela Struble Micki Stukane Jessica Taber Peter Tamburro June Tarantino Steven Terry Larry Toft Scott Tomlin Aron Topielski Christine Torsilieri Katie Tucker Thomas Ubriaco Dawn Valentine Vincent Vicchiariello Kristiann Vogler Richard Wade Nancy Wagner John Watson Sally Witkoski Haiben Wu Jason Wysocki Effie Yuen Joshua Zimmer
Chris Wilhjelm Elected To The American Bandmasters Association
hris Wilhjelm, band director at Pascack Hills High School since 1984, has just been elected to the American Bandmasters Association. This storied organization, founded in 1929 by Edwin Franko Goldman, Albert Augustus Harding, and John Philip Sousa, has been the premier association of professional conductors and composers active in the band world for 85 years. Wilhjelm is the first New Jersey high school educator to be invited the associationâ&#x20AC;&#x2122;s history. He joins MAY in 2014 only two additional New Jersey residents,
William Berz, professor of music at Rutgers University (formerly Director of Bands), and John Pastin, former director of the United States Navy Band, and currently Dean of the School of Performing Arts at Rowan University. Chris Wilhjelm thanks his sponsors, Dennis Zeisler, president of the American Bandmasters Association; Loras Schissel, director of the Virginia Military Band and the Blossom Festival Band; Timothy Rhea, Director of Bands at Texas 3 A&M University; and Colonel Arnald Gabriel, retired director
of the United States Air Force Band and one of the most honored musicians in the nation. He also extends his thanks and appreciation to all of the members for this honor. In addition to serving as the band director at Pascack Hills, Wilhjelm has been the conductor of the Ridgewood Concert Band, one of our nationâ&#x20AC;&#x2122;s leading adult ensembles since 1983. Chris is deeply appreciative of the decades of support received from his family, friends, colleagues, and students TEMPO for making this award possible.
Thomas A. Mosher 732-367-7195 email@example.com Website: http://www.njmea.org
e are once again reaching the end of another school year. TEMPO Magazine continues to flourish with the help of its many advertisers, faithful authors who constantly meet the deadlines providing all of the interesting articles written for our membership, and the members of the Board of Directors who keep you informed of what is occurring in their respective areas of expertise and in the regions. Many of our authors are new and have answered the call for articles written by our New Jersey music educators. If you would like to join them, the guidelines for article submissions are on the njmea.org website under the pull down TEMPO menu. My wife, Kathy, proof reads every submission and makes the necessary corrections to grammar and spelling. There is no need to worry about how your article will appear. She will make you look good!
There are over 50 advertisers who faithfully support your magazine during the year. Please support these advertisers and those who exhibit at the NJMEA State Conference each year and let them know you appreciate what they do for music education in New Jersey.
SAVE THE DATE!
NJMEA SUMMER WORKSHOP VII
National Association for Music Education Announces the Creation of
Tuesday, August 5, 2014 At The College of New Jersey 8:00 a.m. – 4:30 p.m.
An interactive, resource-‐based workshop for instrumental, vocal, classroom music and music technology teachers seeking fresh ideas just in time for the new school year. Here’s what past attendees are saying:
I’m from NY. The Summer Workshop was SUPERB! I feel ready to go back to work in September.
Touching the Lives of 20 million children Give A Note Foundation was established by the leaders of the National Association for Music Education in order to expand and increase music education opportunities for all children and help them develop skills needed for success in the 21st century.
To make a donation, please visit www.giveanote.org
I feel like I have some new “tools” to start the year successfully. I left the workshop with new ideas, concepts, resources and professional contacts. I took away a lot of ideas for the upcoming year.
I know that I will draw from my experience and learning that I gained from the NJMEA summer conference. I think that the variety of topics was really great.
For more information, go to: www.njmea.org under the CONFERENCES link
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& News From Our Division Chairs President Elect William McDevitt 856-794-6800 x2539 email@example.com
“Find a beautiful piece of art. If you fall in love with Van Gogh or Matisse or John Oliver Killens, or if you fall love with the music of Coltrane, the music of Aretha Franklin, or the music of Chopin - find some beautiful art and admire it, and realize that that was created by human beings just like you, no more human, no less.” Maya Angelou I’m writing this edition of Random Thoughts right after finishing the run of our school’s production of “Thoroughly Modern Millie”. It reminded me that we, as musicians and music educators, are held to a much higher standard than our colleagues. This was one of the most difficult orchestra books that I have seen. In a 2 ½ hour show, there was probably 1 ½ hours of music. In that hour and a half of music, there were 30 seconds of terror on opening night. A few musicians missed a tempo change and the rest is history. After 30 seconds, it came back together. In percentage terms, we probably came out at about a 98 or 99 percent that night. Unfortunately, the thing that we will remember the most is the 1 percent that was wrong. What would be considered an A+ to others is a failure in our profession. Last year, at our Pops Concert, I took a cue from some others and played a simple chorale for the audience filled with parents of our 6th through 12th grade instrumental students. I then had each student only play 93 percent of the pitches correctly. The cacophony showed that a truly unacceptable performance for an ensemble would still be considered an A on any written test for any subject. Try 70 percent and see how the audience cringes! I wonder why we have to constantly justify our existence in the world of public education. There’s music everywhere. In my advocacy efforts, I ask people to imagine a movie without music, or no car radio, or no iPods, or silence in the elevator. I don’t think that I’ve ever met anyone that truly hates music to the point that they would like to see it go away from their life. Still, every time that I speak at a school board meeting in any district about budget cuts or position cuts, it seems like I’m telling them something new. It’s almost like they think that music will always be there – even if we don’t train students to create it. Imagine if we didn’t train students to do math or science. I wouldn’t care if there were music in the elevator because I wouldn’t be riding in it! Maya Angelou’s statement is correct. Art is created by humans; however, without proper training, that 30 seconds of terror or the 93 percent accuracy turns into hours of unacceptable performances assaulting our ears for years to come.
continued on page 8
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& News From Our Division Chairs Administration Ronald P. Dolce 732-574-0846 firstname.lastname@example.org
It seems that just a short time ago the October edition of TEMPO Magazine was arriving in the hands of our members. Now we are in May and in the middle of our spring concert season or getting ready to put our students on a bus or plane for that long awaited spring trip or competition. It has been a busy year for the New Jersey Music Administrator’s Executive Board and membership. Our membership has increased this year primarily due to the great workshops that were held this year. Our first workshop in October, facilitated by Peter Griffin and Tom Weber, “Assessment in Music Education Continued- Where are we with SGO’s”, was a continuation of the previous year’s workshops to help our members work through the development of SGO’s and the new evaluation process, along with how to deal with the different models that they may use to evaluate their staff. Our December workshop, “Assessment in the Clouds”’, was presented by two teachers from the Westfield Public Schools and facilitated by Linda King, Music Supervisor. The workshop demonstrated ways that students could be assessed by using applications from the Internet. This workshop was interactive. Over fifty members and guests used the Internet to work the programs designed for evaluation of students using game like programs. In February, an open roundtable, entitled, “Teacher Evaluation Models- A Panel Discussion- Danielson, McCrel, Marzano, Marshall, Strong”, facilitated by Robert Pispecky, gave each member an opportunity to discuss how they were implementing the evaluation model and the roundtable enabled each member to share ideas with other supervisors that were using the same evaluation program. The association held its Annual Breakfast Meeting at the NJMEA Conference. Members were able to meet in an informal setting and prepare for the day’s activities. We were also able to hear from Robert Morrison from Quadrant Arts on music advocacy and from Robert Frampton, Eastern Division President from NAfME about the activities of the national association. In April, our workshop, “Higher Education Update-Focus on Teacher Evaluation- What College Graduates Need to Know”, concentrated on what is expected of the new teachers as they graduate from college and enter into the workplace and what the colleges expect our students to know as they enter into the realm of higher education. Several educators from our New Jersey colleges and universities were invited to participate in the roundtable discussion. Our last meeting in June will be, “Hot Off the Press- Wrap up and Round Up” facilitated by our president, Peter Griffin. This will be an informative celebration of the past two years of the work done at our meetings; the understanding of the evaluation system used in our school districts and how we can go forth. As we go forth, NJMAA is working to have Master Class offerings beginning in the fall of 2014 available to music teachers who are often required to take on significant responsibilities outside of their area of stated expertise. These Master Classes will provide two to three hours on a specific topic presented by members of the NJMEA. These members will provide their experience to the attendees about how they worked through the unfamiliar challenge in their new teaching experience. The Master Class will be held in the classroom of the presenter. A $25.00 workshop fee for each workshop attended will include a light breakfast as well as the workshop session. If you are interested in being a presenter, send a brief session description and resume to Joe Akinskas at JoeA_NJMEA@comcast.net. A stipend for each presenter will be provided. Please contact Joe Akinskas at JoeA_NJMEA@comcast.net if you have any questions. The success of the NJMAA depends on the membership. This year, we had an outstanding number of administrators attend the workshops, veterans and new faces alike. The NJMAA serves as a valuable resource for the music administrators and for those administrators without a music background; to help them work more effectively with their music staff; and to work more efficiently as they support the needs of the music program. Find out more about the NJMAA. Check us out at NJMAA.org; become a member.
continued on page 10
2014 Summer Camps Sunday, November 3 Sunday, December Band: July 6-10 8 Choir: July 6-10 Sunday, January 19 String: July 6-11 Saturday, February 8 Jazz: July 13-17 Sunday, March 2
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& News From Our Division Chairs Band Performance Al Bazzel 856-358-2054 email@example.com
The All-State Band Procedures Committee would like to congratulate the 2014 NJMEA Distinguished Service Award recipients. The 2014-2015 solo list is included in this issue. The committee has reviewed all recommendations for solo changes and there are several new additions to the list. There has been a change to the battery percussion audition. Effective for the 2014-2015 school year the All-State battery percussion audition will not include a traps solo. The traps portion of the battery audition will include the traps studies, found on the website, and a mallet etude, found on the solo list. All audition information and requirements are on the website. Continue to check www. njmea.org throughout the summer for updates, conference information, and important links. Also included in this issue is the 2015 Wind Band Academy Ensemble Performance Application. Please contact Mindy Scheierman, NJMEA Coordinator of Selection Committee (firstname.lastname@example.org) if you have any questions. I would like to thank the region representatives of the All-State Band Committee. If you have any questions or concerns, please contact your specific region representatives: Region I- Lewis Kelly, Gregory Mulford, Mindy Scheierman; Region II- Jules Haran, Mark Kraft, Brian Toth; Region III- Deb Knisely, Thomas Rafter and Phil Senseney. Special thanks to the following Procedures Committee members for their dedication to the students and educators of New Jersey All-State Bands: Donna Cardaneo, All State Band and Women’s Chorus coordinator; Peter Bauer, auditions chair; Bruce Yurko, solo chair; David Britton, percussion coordinator; and Paul Oster, historian. “Thank you to Paul and Vicky at Plainfield Music for their assistance in preparing the 2014-2015 solo list.” Thank you all for another great year! On behalf of the committee, I hope you have a wonderful summer!
Choral Performance Kathleen Spadafino 732-214-1044 kspadEB@aol.com
Tra-la, it’s May! A lusty month, indeed! Spring concerts, senior awards, graduation, and much more. All-State Chorus auditions are complete, and our 2014 Mixed Chorus and 2015 Women’s Chorus have been chosen. Mixed Chorus will begin their first rehearsal with conductor Peggy Dettwiler on Saturday, June 14th. Many thanks to all of you for making All-State Chorus auditions work so well. It was the first time for our online registration for students, which saved hours of time for our audition chairs, Michael Schmidt and Cheryl Breitzman. They still had plenty of work to do in order to contact every director regarding the process and organize the audition day. Everything was not 100% perfect with the online registration, but we are moving forward. Our gracious hosts – Michele DeGaetano at Bloomfield HS and David Taylor at Northern Burlington had everything running smoothly – thank you! Thanks to your Choral Procedures Committee: Tom Voorhis, Steven Bell and Jamie Bunce from Region I; Hillary Colton, Judy Verrilli and Wayne Malette from Region II; and Helen Stanley, Art McKenzie and Cheryl Breitzman from Region III. They plan, inform, organize and run the auditions, plus make many important decisions that shape future All-State Choruses. If you did not yet add your suggestions (I had a box at auditions), please email them to me at KSpadEB@aol.com. We are always working to improve all aspects of this wonderful choral opportunity for your students! Speaking of improvements, maybe YOU can help make All-State Chorus better. Many, many teachers have told me that once they have a student in All-State Chorus, their whole program rises to a higher level, and they get more respect from their administration and other teachers. Brag about this - it’s All-State! Please consider getting involved at a higher level – contact me with any questions or ideas. Enjoy the rest of your year, and I look forward to seeing you soon ! continued on page 12 TEMPO 10
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& News From Our Division Chairs Guitar Education Thomas Amoriello email@example.com 908-342-7795
The end of the year is almost upon us, and with a year of new evaluation systems, I hope your adaptation went smoothly. If you are looking for professional development hours this summer and are interested in adding guitar skills to your arsenal, I will be presenting my Guitar for the Music Educator lecture at the NJMEA Summer Workshop VII on August 5 at The College of New Jersey in Ewing. I include a big thanks to workshop coordinator Joe Akinskas for supporting guitar education at this event. I look forward to meeting you and helping out your situation. I want to extend my gratitude to the following New Jersey guitar educators: Connor McGettigan, Loren C. Fortna, Kyle Garcia, Stephanie Assal, Carly McIlvaine, Jacqueline Burd, & Joel Perry for participating in my Guitar Ensemble Workshop/Guitar Educators Meeting at the February 2014 NJMEA State Conference in East Brunswick. We shared ideas for the classroom as well what a future NJ All-State Guitar Ensemble may look like. In addition, we sight-read selections such as Scarborough Fair and a Catalan Folksong from Everybody’s Guitar Ensembles 1 provided from FJH Music Company and author Philip Groeber. A special treat at the convention was also a classical guitar recital performed by Montclair State University guitar faculty member Loren C. Fortna. This Lobby Concert included unique programing, technique and artistic sensitivity. With that in mind, we are looking for NJ high school and university level guitar ensembles to perform at the 2015 NJMEA State Conference. This recital will be for 30 minutes and held in the Atrium Lobby. I would like to feature 3-4 different schools performing in trios, quartets and larger ensemble. The music should be well prepared and please exclude any large scale works. If you are interested in participating in this please contact me at firstname.lastname@example.org. We are also grateful to NJMEA President Joe Jacobs and Conference Manager Marie Malara for expressing their enthusiastic support of guitar education events at the conference. If you are feeling philanthropic and interested in supporting guitar education in New Jersey, then I would like to introduce you to Mr. Carlos Sousa of the Barack Obama Green Charter High School http://obamagreencharterhigh.sharpschool.net in Plainfield, NJ (Union County). He teaches Finance, Economics, Leadership and Career Partnerships at this public charter high school. Sousa states, “I love teaching these subjects. However, I also have a passion for music. I’ve been a musician for about 19 years. I play several instruments. Since our school does not have a music program, I thought of creating a guitar club. I’ve had a good turnout. Donorschoose.org has been a blessing. I’ve been able to raise enough funds to purchase 8 guitars. So far, I have received 4 out of 8. I have started a second fundraiser to fund guitar cases, strings, tuners, capos, etc. I would love to see my students have the opportunity to take the guitars home and practice. We meet every Thursday and Friday and I have 8 students. I had to cap it at 8 because of the lack of instruments, if I had more, I would have more students. The more people see our fundraiser, the more opportunities we can create.” This Guitar Club will be featured in a forthcoming guitar column in TEMPO. If you are interested in helping, you can contact him at (877) 643-4064 or email@example.com or simply make a donation at: http://www.donorschoose.org/mrsousa Finally on a personal note, my entire music department at Reading Fleming Intermediate School in Flemington, NJ will be featured on an upcoming episode of Classroom Close-up, NJ. The segment is entitled “Music Lasts a Lifetime” and will give you a chance to catch a glimpse of our 6th Grade Guitar Ensemble as well as a few talented guitar students in action. Classroom Close-up is in its 20th season and airs on NJTV on Sundays at 7:30 am, 12:30 and 7:30 pm. Our episode of Classroom Close-up will air on May 11th and June 8th on NJTV so stay tuned and check out www.classroomcloseup.org for more information. If you have any guitar related news you would love to share from your school, please email me to spread the word. Have a great summer! continued on page 14
the college of new jersey
& News From Our Division Chairs Opera Festival
Stevie Rawlings 201-261-7800 x3069 firstname.lastname@example.org
Curiosity about opera among young high school students has had a noticeable emergence in the last few years. Choral teachers or traditional opera lovers or foreign language teachers who take students to hear operas in Italian, German, French in support of their students’ language skills are primarily responsible for this phenomenon. A new affection for the art form must be introduced by experiencing the thrill of a full, acoustic voice in a hall. On first hearing the listener is often stunned. How can a person sound like that? “Exaggerating” the vocal parameters of singing is in part the definition of operatic singing. Young singers can choose to “exaggerate” RANGE and RESONANCE (by improved breath support) to maximize both, through improved vocal study. As music vocal teachers we can encourage this growth in each students’ voice in the classroom. As we all attend to our SGOs (Student Growth Objectives), we teachers may take heart in knowing that there are ways to measure vocal improvement; that good singing (“exaggerated” or not) is good singing. Focusing on gradually extending every students’ range through the daily challenge of warm-ups can be implemented. Thoughtfully expanding the range through more challenging repertoire can encourage singing to the edge of each students’ competency. In our Concert Choir, one hundred students tested their range in October and again in January. Every student’s range increased, if only by a half step. Many improved by two whole steps. One hundred students in Concert Choir tested their breath support by repeatedly outlining a triad at a 160 metronome marking for consistency. The mean number of triads sung by students was 9 in October. By January, with improved breath support and attention to singing longer phrases in our repertoire the students brought the mean number to 11 triads. Our goal in April is to have improved RANGE and breath support for RESONANCE. Experiencing live, acoustic, operatic singing may motivate young singers to challenge themselves to improve their vocal abilities. We owe the traditional opera fans, foreign language teachers, voice teachers and choral teachers our gratitude for keeping the operatic art form alive. Continue to participate in the NJMEA Opera Festival, which gives our students an opportunity to prepare and present arias for evaluation by Metropolitan Opera stars and to learn to sing operatic choral repertoire as well. (Friday, October 24th Auditions and Saturday, November 15th, Opera Festival /Concert * at Paramus High School)
Orchestra Performance Susan Meuse 732-613-6890 email@example.com
In March we had the ASO/ASIO auditions. Congratulations to all the students who have been accepted to both groups. The auditions went very well thanks to audition chair Mike Kallimanis. Auditions were held at West Windsor – Plainsboro HS North and hosted by John Enz. Thank you to everyone involved for making it a success! The ASIO concert will be coming up on May 10th at Community Middle School in Plainsboro. The students are working very hard to perform a great program conducted by Jesse Livingston. The concert begins at 3:00 pm, so please come by to hear it! Be sure to look in this issue of TEMPO for both the 2014-2015 calendar and the solo and scale requirements for next year. Please note the important changes to the ASO scale requirements. As always, if you’d like to get involved, feel free to email me or come to any ASO or ASIO rehearsal! continued on page 16
MUSIC W O R T H C R E AT I N G
Music, Dance and Theatre The Department of Music, Dance and Theatre is an accredited institutional member of the National Association of Schools of Music (NASM) and a collegiate member of MENC, The National Association for Music Education.
Undergraduate B.A. in Music Education B.A. in Music Theatre B.A. In Music Business B.M. In Classical Studies B.M. In Jazz
D.M.A., chair Music, Dance and Theatre 201-200-2025 Mkim@njcu.edu
Graduate M.A in Music Education M.M. in Performance (Classical, Jazz and Multiple Woodwinds)
njcu.edu/mdt 2039 Kennedy Boulevard Jersey City, New Jersey 07305
Worth It. 15 TEMPO
& News From Our Division Chairs Retired Music Educators Beverly Robinovitz 732-271-4245 firstname.lastname@example.org
At this writing it is almost springtime and we’ve all had it with the snow. Freezing weather brought plenty of broken pipes, and ice dams in gutters which cause water stains on ceilings and outer walls. (Yes, I had it all.) And for you non-retired teachers, plenty of missed school days, missed rehearsals, a musical to pull together, the mid-winter concert to pull off, stressssss, etc. I remember it well. But as I always says in this article, “Ah, retirement.” The Master Music Teacher Committee is soon going out to observe teachers to select the NJMEA Master Music Teacher for 2015. Please take the time to think about nominating a NJMEA music educator who is truly an outstanding teacher next March, 2015 for the 2016 Master Music Teacher. Put it on next year’s calendar of things to do. The last General Membership Meeting of the year will be held on May 14th at 10:15a.m. at the House-By-The-Sea in Ocean Grove. Please note that this is a change of date from the original calendar. Our host once again is Alyn Heim. Across the street is the ocean! You may want to take a walk before our meeting. Our guest speaker is Roma K. Oster, wife of Paul Oster. Roma is an attorney who specializes in wills, estate planning, probate, trusts, powers of attorney, elder law, and guardianships. This is something we all need to make certain that we’ve done and done correctly at this point. Roma spoke to us a few years ago and we all found her to be a fountain of knowledge. Following her presentation is a question and answer section. After the meeting, we all go out for lunch. We have lots of fun chatting with ole friends. (Yes, I meant “ole” and not “old”!) So plan your schedule and save the time for and with us. Let me know at my email above that you will be attending. Wishing you and yours a healthy and happy 2014. Oh, did I mention?… Ah, retirement.
Summer Workshop Joe Akinskas JoeA_NJMEA@comcast.net Summer Workshop Coordinator
Summer Workshop VII I am pleased to announce that Summer Workshop VII will take place on Tuesday, August 5, 2014, from 8:00-4:30 pm. All activities will take place on the College of New Jersey campus in Ewing. Below you will find our session topic roster at this early stage of planning. All sessions are designed to be interactive, in a relaxed summer setting, so come prepared to utilize your voice, instrument, i-devices, and musical skills, in activities designed to be brought back to your classroom. We look forward to another enjoyable and productive day for all in attendance. Periodic updates on program development will be forthcoming in TEMPO Express postings and on our website at www.njmeasummerworkshop.com. continued on page 18
Experience the Evolution of
& News From Our Division Chairs NJMEA Summer Workshop VII Tuesday, August 5, 2014 The College of New Jersey 8:00 – 4:30 p.m. Preliminary Workshop Session List Curriculum and Instruction SGO’S And The Evaluation System A Year Later-Where Are We? Lesson Planning With The SGO’S in Mind Creative Strategies For Benchmarking Choral Music Elementary-Middle School-High School Reading Sessions Vocal Health Elementary Choral Techniques-Developing Young Voices Recruiting and Retaining the Middle School Chorus Vocal Percussion in the Vocal Warmup Technology Applications in the Middle and High School Choral Room Classroom Music Cross-curricular Integration in the Elementary General Music Classroom Starting The Year On A High Note Music and the English-Language Arts Common Core: You Want Us To Teach What ?? Revitalizing the General Music Classroom Focus on the Pedagogies: Orff, Dalcroze, Kodaly, Gordon (extended session) Instrumental Music Guitar in the Classroom Teaching Techniques For The Non-Brassist, String-ist, Woodwind-ist, Percussionist Instrument Repair-What Not To Do? Recruiting And Retaining Low Brass Players Turning Drummers Into Percussionists Care And Feeding Of The Percussion Section Recruiting And Retention In The String Program Generational Perspectives On String Teaching Special Education Accommodating Children On The Spectrum In The Music Program Lesson Plans And Activities For The Pre-K And Primary Levels Infusing Music Literacy Technology Using Garage Band On Your I-Devices, Not Just On Your Laptop Kicking Off The iJam Band Google Apps for All ! Keeping In Touch Through Tech: The Way The Kids Do ! Makey Makey: Away We Go ! Don’t Miss It
& TEMPO 18
Music And Arts Education Added To NJ School Performance Reports by Nicholas Santoro NJMEA Advocacy Chairperson email@example.com
his past January, The New Jersey Department of Education released the 2013 School Performance Reports and, for the very first time in the nation, arts measures were included. The reports are designed to inform parents, educators and students how a school is preparing for the future and are chock full of data on academic achievement and college and career readiness. The New Jersey Arts Education Partnership (NJAEP) has guided policy development toward inclusion of arts measures over many years. The NJAEP is a co-sponsored project of the NJ State Council on the Arts and the ArtPride NJ Foundation, with additional support from the Geraldine R. Dodge Foundation, the NJ Dept. Of Education, the Prudential Foundation, and Quadrant Research. What does this data really mean? The measures for arts education include the percentage of high school students enrolled in each arts area (Dance, Music, Theater and Visual Arts) and the percentage of the total school population enrolled in the arts. Also included are the individual averages for the entire state allowing schools and communities will also be able to compare their results. In New Jersey a total of 47.3% of high school students are enrolled in one or more arts disciplines (representing 184,011 students). Among the disciplines, visual arts has the greatest percentage of enrollment at 30.2% (117,613 students) followed by music at 16.7% (64,843 students), theater at 3.5% (12,612 students) and Dance at 1.8% (7,095 students). Why is inclusion of the arts in School Performance Reports such a big deal? New Jersey has long had some of the strongest requirements for arts education in the nation. Since 1996, the visual and performing arts (Dance, Music, Theater and Visual Arts) have been a part of the New Jersey Core Curricular Content Standards and are part of the state’s graduation requirements. Additionally, New Jersey was the first state to conduct a mandated study (The New Jersey Arts Education Census Project) to document access, participation and quality of arts education. Now measuring the arts in annual School Performance Reports continues the legacy of assuring that New Jersey students have a well-rounded education that prepares them for the 21st Century workplace. To get the full picture, visit the New Jersey Arts Education Partnership website to see all of the data in one place and see how counties and school districts compare. The NJAEP data also includes the student enrollment for each school for a more detailed look at arts education. Go to: http://www.artsednj.org/arts-education-data.asp The data is currently only available for high schools. Elementary grades will be added to next year’s reports. The inclusion of this data now provides a baseline for future comparison and analysis, keeping schools accountable for high quality arts education and compliance with core curriculum content standards.
Embracing Teacher Evaluation: Why Music Educators Should Learn To Love The Danielson Framework by Jeff Santoro West Windsor-Plainsboro District Jeffrey.Santoro@ww-p.org
s we near the end of this school year that has brought so much change, it is a good time to reflect on what those changes have meant for New Jersey Music Educators. There is no doubt this was a trying and difficult year for many. Depending on the climate in your school or district, you may have felt varying degrees of anxiety brought on by this year’s changes. While this feeling is understandable, I think it is important for us to identify the positive points and use those to help us navigate the challenges. I think there should always be a healthy debate around school reform. I also feel our efforts should be concentrated and add value as opposed to spending large amounts of time railing against all change without discernment. Without distinguishing between one type of reform vs. another, we exhaust ourselves, which can make us less persuasive to the administrative community. We need to continue to be excellent educators under all circumstances. Below are my thoughts on some common arguments against the implementation of evaluation models and their corresponding state-mandated ratings. It’s A Feedback Tool First And Foremost This is an important distinction. The Danielson Framework is a feedback tool. It is designed to identify good teaching and help facilitate conversation about improving instruction. Before the implementation of these various evaluation models many teachers went years receiving inconsistent, subjective feedback or no feedback at all. By using the Danielson Framework districts now have a common, research-based document from which to initiate the conversation, which is where improved instruction begins. However, along with the State mandate to use these evaluation models comes
the ratings system. The numbers and names of each of the levels (4 = Highly Effective, 3 = Effective, etc.) were assigned by the State as part of the tenure reform legislation. When we’re looking at an evaluation, it is important and helpful to think about the feedback and not only the rating. Admittedly, it is very difficult to do this as we all tend to place value on the bottom line result. If we’re not willing to appreciate and digest the feedback, we’re doing ourselves a disservice and allowing ourselves to become a slave to the “number”. If we take the time to really process the Framework document we might be surprised at what we find. If we only pay attention to the number that’s attached, we are missing out on one of the positive aspects of this new system of teacher evaluation. “But The Person Doing My Evaluations Doesn’t Know Anything About Music!” The reality is that this will most likely be the case for the majority of us for the foreseeable future. Even in districts with Music Supervisors, at least one of your observations will likely be completed by someone else. What I have found is that the Framework actually helps the non-musician administrators feel more comfortable in music classrooms because it gives them a common starting point to talk about good teaching. The uneasiness some music teachers feel about being observed by non-musicians is often matched by the uneasiness those same observers feel in a music classroom. Evaluation frameworks can actually help that teacher-administrator relationship greatly. “But We’re Different. This Doesn’t Apply To Music.” I call this the reverse-advocacy statement. When music programs get cut, we cry out that we’re equal to everyone else and
should be treated as such. However, when we are told we’re going to be evaluated like everyone else, we say that we’re different and that this Framework “doesn’t work” for music. These evaluation models are good for music education and music teachers, just like they are good for other subjects. Working with our non-musician administrators to find the common ground and to educate them on what learning looks like in the music classroom should be something we strive for. Students should understand the importance of the content and learning (Component 2b, Establishing a Culture for Learning) but that might look different in Band than it does in Algebra. Students should be expected to self-assess and monitor their own progress (3d: Using Assessment in Instruction) but that happens in a unique way in Orchestra vs. Language Arts. Just because it looks different does not mean it is not applicable! Closing Thoughts: Why Not Try To Lead? Sometimes we, as a profession, view changes in state regulations as hoops we must jump through or fads that we can ride out, and at times this view seems warranted. However, if we found where we could be leaders in our schools and put our energy there instead, we could help everyone achieve more. Music teachers are known for engaging students. Instead of viewing “Engaging Student in Learning” or “Using Assessment in Instruction” as a burden, we could invite administrators and colleagues in to see how we teach. This would be an interesting shift for music education. Wouldn’t that make all of these changes feel less like a burden and more like an opportunity?
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If We Build It, They Will Come: Using Music Technology To Reach “The Other 80%” In Secondary School Programs by David Brian Williams, PhD Illinois State University Emeritus Rick Dammers, PhD Rowan University
n music education we begin children’s elementary music experience by encouraging everyone to join in music making through singing and performing on rhythm instruments, autoharps, recorders, flutophones, and more. Music making and music learning include one and all; everyone gets to participate. Music teachers use participatory music making as a way to introduce concepts of rhythm, pitch, melodic shape and harmonic changes, and form and style. Then what happens? As our students matriculate through levels of schooling, music participation becomes more selective. We move from participatory music making as a model to the traditional performance model where perfection is a key goal: no wrong notes and fewer opportunities for creative music expression. Performance ensembles—band, orchestra, chorus, marching band and jazz band—dominate the secondary music curriculum with a general music class or advanced placement theory perhaps added to the curriculum. For those students attracted to these ensembles the benefits of this training and experience is expansive and well documented. Some students go on to professional music careers; others carry their extra-musical and musical experiences with them into other careers and as an integral part of their personal lives. We are not advocating changing this component of our nation’s music education tradition. Dave Williams’ review of several studies (Williams, 2012) has shown that on average across the country, by the time students advance through middle school to high school, only 20 percent of students are involved in these traditional music classes (also see Elpus and Abril, 2011 and NJAEP, 2014). Many students who participated in music making in the lower grades have since distanced
themselves from school music. These are on all sorts of simple and unconventional what we call “The Other 80%,” the students instruments. They have the thrill of explorwho no longer are active in the traditional ing the delights of free creativity without a secondary school music program. It is furlong apprenticeship in technique first.... We ther insightful, that while nationally only might entertain the idea that someone who 20 percent on average are involved in tradinever does develop skills on conventional tional secondary performance ensembles, a instruments could become a gifted performmuch greater percentage of students sing or er on unconventional ones… Someone who play an instrument outside of school. The never learned to read conventional notation longitudinal series of studies, Monitoring might nonetheless become an outstanding the Future (Johnston et al., 2010), showed composer in some medium where notation that over some 30 years, an average 57% of has yet to be invented, or may even be imstudents in 8th, 10th, and 12th grades—not possible to invent” (p. 97). just those in music classes—reported that they play an instrument or sing outside of school at least once or twice a month if not daily. In terms of lifelong music making, the NAMM-commissioned Gallup survey (NAMM, 2003) showed that 54% of households John J. Cali School of Music have someone that plays a musical inGiving Voice to Democracy In Music Education strument and 48% play two or more A conference for music teachers and teacher educators (see Williams, 2012, June 20 – 22, 2014 for a full discussion of these data). M c A l l e s t e r ’s Keynote Speakers: predictions in the David Elliott, author, Music Matters; 1967 Tanglewood Paul Woodford, author, Music and Democracy; Report were incredNicholas Michelli, author and international speaker ibly prescient. He for democracy in education. stated some 60 years ago: Contact: “We have a Dr. Lisa DeLorenzo, Conference Chair splendid firstname.lastname@example.org ning in the early (Special one-day price for Saturday, June 21.) grades, when children are sometimes lucky enough to John J. Cali School of Music 1 Normal Avenue Montclair, NJ get acquainted with rhythm and melody
Field Of Dreams Change is on the horizon with new playing fields designed within our traditional music curriculum. Music teachers, innovative and self-motivated, are creating new environments for “TheOther-80%” to explore students’ creative music potential. It is being done in many ways: song writing, guitar and ukulele ensembles, Mariachi bands, drumming circles, and various ethnic ensembles. All these activities help bridge music education in school with music in society and use these activities to nurture a greater knowledge and appreciation of the building blocks of music that encourage lifelong music making. They do so with the challenge, like Ray Kinsella dreaming of the return of Shoeless Joe Jackson to baseball, that “if we build it, they will come.” Technology At Bat An ever-expanding group of teachers is using music technology as a strategy to reach these students. They are using laptops and tablets with software like GarageBand, Mixcraft, and Abelton Live, to engage these “non-traditional” students in ways that nurture creative performing and composing talents. Reading traditional notation and performing on traditional instruments are not, as McAllester suggested, a prerequisite: students’ ears become their guide with the music teacher as their music creativity coach. We built the website http://musiccreativity.org several years ago as a way to collect the stories of music teachers who were building their own music technology field of dreams: an online forum to share success stories working with non-traditional music students. Like those teachers implementing guitar and ukulele ensembles, the students motivated to make music through technology were discovering ways to bridge school music training with the music they enjoyed in society: rock, hip-hop, DJ mixes, mash-ups, jazz and more. Go The Distance! In Rick Dammers’ research (Dammers, 2012), he found that some 14 percent of high schools in the nation have some form of technology-based music classes. On our website (musiccreativity.org) you will find some 30 profiles of teachers who have been successful using technology to build programs for the non-traditional students. They often start with one class, perhaps even an after-school activity. As the program expands, the profiles show more advanced classes added in music technology, MIDIbased performance ensembles, studio recording and mixing, and even student-managed recording labels. As the voice to Kinsella encouraged, “go the distance:” the success of these programs develop their MAY 2014
Graduate Summer Sessions for Music Educators
!! !! !! !! !! !
In association with
Session One June 29 - July 3
(Sunday 1 pm - Thursday)!
The i’s Have It! iMovie, iTunes, and iPhoto - Floyd Richmond ! Introduction to Playing the Drum Set - Marc Dicciani! Rehearsal Techniques for Contemporary Choral Ensembles - Justin Binek! Strings for the Non-String Player - Betsy Maliszewski ! Alternative Ensembles in Music Education - Jay Chuong and Staff!
Session Two July 7 - 11!
Integrating the iPad into the Music Education Curriculum - Tom Rudolph! Rehearsal and Repertoire Foundations for Concert Band - Frank Tracz! Band Instrument Repair I - Chuck Hagler! Working with Young Voices - Practical Applications & Theory - Joy Hirokawa! Multicultural Techniques for Teaching Rhythm - Anthony DeQuattro! Teaching Strings: Current Issues, Techniques, and Strategies - Andy Dabczynski! Creative Classroom Musicianship for Elem. General Music - Anne SternerPorreca!
Session Three July 14 - 18! Notation using Sibelius - Steve Estrella! Exploring New Repertoire for Concert Band - Quincy Hilliard ! Band Instrument Repair I - Chuck Hagler! Priorities in the Secondary Choral Classroom: Developing Relationships, Vocal Pedagogy, and Musicianship !- Ryan Beeken! Stringed Instrument Repair - Chris Bluemel! Beyond the Basics in Music Theatre - Jeff Kern! Guitar for the Non-Guitarist - Michael Miles!
Session Four July 21 - 25! Digital Recording Techniques /Sound Systems - Michael Fein! Brass and Woodwind Pedagogy - Chris Farr and Randy Kapralick! Band Instrument Repair II - Chuck Hagler! Unlocking Creativity with Technology - Scott Watson ** at Parkland H.S. Allentown! Orff - Elemental Music Repertoire - Nick Wild, Janie Vance!
Session Four Orff - Shulwerk July 21 - August 1! Orff Level I - Beth Ann Hepburn ! Orff Level II - Michelle Przybylowski!
July 28 - August 1! GarageBand Does it All - Scott Watson ! For Information on registration and housing
visit music.villanova.edu. choose summer studies. Matriculation not required. All courses include 3 graduate credits (Orff 4 credits). Registration begins in late March. Information is subject to change.
perience designed for the non-traditional music student. If you build it, not only “the other 80%” will come, but the sponsors will as well—the parents and administrators!
Bachelor of Music in:
References Dammers, R. (2012). Technology-Based Music Classes in High Schools in the United States. Bulletin of the Council for Research in Music Education, 194, 73-90.
expressive performance creative improvisation discovery and invention cultural and historical analysis
Performance Composition Music Education
Elpus, K. and Abril, C. (2011), “High school music students in the United States: A demographic profile”, Journal of Research in Music Education, 59:2, 128-145.
Bachelor of Arts FULL-TIME FACULTY
and 22 Artist Affiliate Faculty BucknellUniversityDepartmentOfMusic
own kinetic energy. Students, some academically or behaviorally challenged, gain self-confidence, increased positive attitudes, and find intrinsic reward from creating and performing music in new and novel ways.
Take The Initiative And Build It? You may be asking, as Ray Kinsella did, “What’s in it for me?” Following the belief shared by most music teachers that if music is important, it is important for everyone, creating a technology-based music class can be tremendously rewarding, both through successfully reaching the “other 80%” student and through exploring the creative pedagogical possibilities offered by technology. Beyond these rewards, the expansion of the music program improves the program’s position within the school, since the more students that study music, the more important music will be to the school. A perusal of the profiles on our website will show technology programs that have greatly expanded from the first class offering. These programs have grown large enough with expanded student interest that
Paul Botelho | Composition, Music Theory Bethany Collier | Ethnomusicology, Gamelan Ensemble Kimberly Councill | Music Education Barry Hannigan | Piano William Kenny | Department Chair, Horn, Symphonic Band Barry Long | Jazz Studies, Jazz Band Christopher Para | Violin and Viola, Orchestra Catherine Fowler Payn | Voice, Bucknell Opera Company William Payn | Choral Studies, Rooke Chapel Choir Annie Randall | Musicology Sezi Seskir | Piano
the school administration begins to view 8/1/13 4:18 PM them as integral to overall curriculum and are more proactive in providing new funding and resources to ensure their continual success (e.g., profiles on our website from Greenwich H.S. in Connecticut, Brookfield H.S. in Georgia, and Lebanon H.S. in Ohio). In one high school, some 60 percent of students take at least one music technology class. Further, these teachers report that many students continue after graduation to college study in music performance, business, recording, and technology. You may be surprised to find that your school administrator is more supportive of classes for the non-traditional music student than you think. Rick’s survey of secondary school administrators (Dammers, 2012) found that two-thirds of high school principals surveyed agree that music technology classes would be valuable in their schools and 56% who offer no music technology indicated that it would be feasible to offer such a class in their school. Whether you use ukuleles or GarageBand, take the initiative and create an ex-
Johnston, L.D., Bachman, J. G., O’Malley, P. M., et al (2010), Monitoring the Future: A Continuing Study of American Youth (8th, 10th, 12th Grade Surveys), database from http://www. icpsr.umich.edu/icpsrweb/ICPSR/ ssvd/studies?prefix=M. Accessed 10 September 2011. McAllester, D. (1967) “The substance of things hoped for”, from Documentary Report of the Tanglewood Symposium, Reston, VA: MENC, 96-99. NAMM (National Association of Music Merchants). (2003, April 21). Gallup organization reveals findings of “American attitudes toward making music” survey. Retrieved, November 13, 2013, from http://www.namm.org/ news/press-releases/gallup-organizationreveals-findings-american-atti NJAEP (New Jersey Arts Education Partnership). (2013, January 28). New Jersey School Performance Reports. Retrieved, February 8, 2014 from http://njaep.org. Williams, D. B. (2012). The nontraditional music student in secondary schools of the united states: Engaging non-participant students in creative music activities through technology. Journal of Music, Technology, and Education, 4(2-3), 131-147.
& MAY 2014
Photo courtesy of American Youth Philharmonic Orchestras, Tie Xu, photographer
Help your students become the music educators they were meant to be.
Start a NAfME CollegiateCollegiate chapter-Membership Where music educators belong.The Your students will: preferred designation for this program is “NAfME C
used when appropriate . Avoid using “CNAfME” as a des – Gain professional credibility ted to use trademark items without obtaining approval – Get insight into the professional world thatcontacts are not sold . Approval must be obtained in writing – Expand their network of professional that will be sold by local chapters or sold by state, divis – Open doors to job opportunities vendors are not permitted to use Collegiate trademarks – Discover new teaching methods and techniques licensed by NAfME . – Develop leadership skills
For chapter materials email Susan Lambert at SusanL@nafme.org www.nafme.org
NAfME Teal: 10 Indigo Yellow Font: D
When PreK Music Is Added To The Schedule by Amy Burns Far Hills Country Day School email@example.com
ecently, I was appointed to the New Jersey Music Educators Association (NJMEA) Board of Directors as the Early Childhood Music Chair. I am very honored to be a part of the NJMEA Board of Directors, especially representing early childhood music, a passion close to my heart. When I was fourteen, I used to volunteer in my church’s PreK Sunday School classroom and teach Sunday School with a parent because I adored teaching younger children. When I was a music education/music performance major at Ithaca College, I knew that someday, I would be a music educator to early childhood and elementary students. Though I was concentrating on middle school instrumental programs in my degree, something inside of me knew that my calling was with younger students and helping them to achieve a great appreciation for music. My first job was working for a PreK music program that sent me to 12 different daycares/preschools to teach their music program. It was a stepping stone job because I felt that I spent more time driving in my car from one school to another and worrying about quarterly taxes than I did enjoying teaching music to the PreK students. However, that job moved me into my next job as a PreK-3rd grade general music/5th grade instrumental/4-8 grade band educator, that I still hold today, 17 years later. One of the reasons I love my job is because I teach PreK music. When a music educator receives notice or takes a job that involves teaching PreK music classes, and if one is not prepared for this, then a fear comes over the music educator. The music educator feels like he/she has had no training for this age group. What does the music educator do when PreK music is added to the schedule? 1. Read up on literature about the learning styles of students ages 2-5. Some suggestions include: • “Music and Intelligence in the Early Years” by John M. Feierabend, Ph.D (http://www.giamusic.com/music_ education/feier_musicandintelligence.cfm): In this article, it supports why music needs to begin in the early ages. “What a child has heard in his first six years of life cannot be eradicated later. Thus it is too late to begin teaching at school, because a child stores a mass of musical impressions before school age, and if what is bad predominates, then his fate, as far as music is concerned, has been sealed for a lifetime.” – Zolton Kodály, 1951. TEMPO 26
• “The Importance of Music in Early Childhood” by Lili M. Levinowitz, Ph.D. (http://www.musictogether.com/ importanceofmusic): In this article, Dr. Levinowitz shows a variety of research that supports why music education should be included in early childhood education, from music as an important intelligence to a basic skill, to also supporting that from age zero to six, music is like a language and is developed as such. “Audiation is paramount in importance because it is basic to all types of musical thinking. Without audiation, no musical growth can take place.” • “A Conversation with Edwin Gordon” by Mary Ellen Pinzino (Musicstaff.com 1998) (http://www. comechildrensing.com/pdf/other_articles_by_MEP/2_A_ Conversation_with_Edwin_Gordon.pdf ): Gordon speaks about how movement is important in PreK music, how he began teaching music to young children as a necessity and how it turned into a great joy, and about his musical aptitude profile (MAP). 2. Ask questions to other PreK Music Educators. You can find many of them via facebook groups (https://www.facebook. com/groups/musicpln) and (https://www.facebook.com/ groups/generalmusic) or find music educators on twitter to follow and tweet about PreK music. To show an example of just one excellent post about the topic of PreK music curriculum from the Music Teachers Facebook group, input this link: https://www.facebook.com/groups/musicpln/permalink/608473855869335/#_=_ 3. PreK Music Curriculum • One of my favorites is Feierabend’s First Steps in Music Series (GIA Publications, http://www.giamusic.com/). I first found his materials in my Level 1 Kodály course I took at NYU and I loved them. They are made for PreK and involve finger plays, vocal explorations, movement, and more. • Denise Gagne’s materials are also some of my four-yearolds’ favorites like moving to “Falling Leaves” with scarves from her Sing and Play on Special Days and singing and moving to her alphabet MAY 2014
songs with Alphabet Action Songs (Themes & Variations Publications, http://shop.musicplaytext.ihoststores.com/ default.aspx). I use the latter to reinforce the musical alphabet. In addition, I must have sang “Be-Bop the Bear” so often that my oldest daughter named her “lovey” B-Bear. • Music Together’s materials (Music Together LLC, http:// www.musictogether.com/) are excellent and filled with numerous age-appropriate songs and musical activities for young children. • There are more. These suggestions are just a beginning. Here is where I list some on my pinterest page: http://www.pinterest.com/awillisburns/music-and-movement-class-for-prekk-1/ 4. FAQ when teaching PreK Music: What does a typical class look like? My PreK class follows a format, but it changes around depending on the class, day, etc: • Welcome Song • Finger plays • Movement Activity – this could involve tempo, or levels (high, middle, low), or fine motor skills, or gross motor skills, or moving to the steady beat, or moving to dynamics changes, or moving to form, etc. • Finger play or book – read a book that the class will move to or sing to or add instruments. • Activity related to the finger play or book – movement with props, perform on instruments, or act out song. • Sing a song • Perform a chant • Perform a group movement activity like a circle activity from Music and Movement for PreK by Steven Traugh. • Goodbye activity • Basically pace the activities for every 3-4 minutes and if an activity is not working well, change it to keep their attention. What do you do if they cry? What do you do if they have to go to the bathroom? It depends on what is causing the crying. If there was an altercation, then it needs to be addressed and if it can be moved through quickly, then move through it quickly and return to teaching the class. If the crying is a result of a young child being sad and missing a parent or caregiver, then try to distract the child or bring the child to you and have him/her sit next to you; or give the child a special doll to hold, with the preface that this is to help the child with today’s class. If they have to go to the bathroom, do your best to distract them unless it is an emergency, because once one PreK student goes to the bathroom, then usually all of them will have to go to the bathroom. What is a good class time for PreK? A PreK class time can vary due to the age, the attention span, the environment (are you teaching them in a janitor’s closet? This happened to me in my first job), the time of day, and whether or not a teacher is present in the room with you (this depends on the teacherto-student ratio for your state). I teach 3-year-olds for 20 minutes, three times during a seven-day cycle, and I teach 4-year-olds for 30 minutes, two times during a seven-day cycle. I find these times to be a nice fit for their age groups.
What is the best part about teaching PreK music? The students! They are like sponges. They absorb everything you teach them. And they will adore you if you love to teach them. They are inquisitive and wonderfully observant. If you want to be there, they know it and appreciate it. If you do not want to be there, they can assess that in the first two minutes of class. Therefore, enjoy them and teach them. They will take it all in and think that you are the biggest rock star that walked on the planet (or think that you are Cinderella, as one of the four-year-olds stated to her mom on the first day of school, “Mommy! My music teacher is fun, and sings, and dances, and is Cinderella!”). Finally, to drive home the point about the research, here is my youngest daughter at age 11 months, and 1 year and 11 months, singing to her mama. She is sung to every day and listens to her older sister sing daily throughout the day. She also has music class once a week in her 2-year-old preschool class. To hear those two examples, input the following link and scroll down to the bottom of the post: http:// mustech.net/2013/10/prekmusic/ Would you like to participate in a two-hour Early Childhood/PreK Music Seminar? I will be holding a google+ webinar on Friday, May 30th from 3:30-5:30 p.m. where we will discuss early childhood/PreK music classes, curriculum, activities, and show samples of these music classes. If you would like to join this webinar, please email Amy at aburns@ fhcds.org. You will need a google + account to participate. Since we are using google+, we can only have nine participants. Amy M. Burns is a PreK-3rd grade music educator, 4th-8th grade Philharmonic Director, and Director of the Conservatory at Far Hills Country Day School. She is also an author for Online Learning Exchange™ Interactive Music powered by Silver Burdett and two books titled Technology Integration in the Elementary Music Classroom and Help! I am an Elementary Music Teacher with a SMART Board! This article first appeared at http://www.mustech.net.
& 27 TEMPO
University of Massachusetts Amherst
Department of Music and Dance BA in Music BM in Jazz, History, Music Education, Performance & Theory/Composition MM in Collaborative Piano, Composition, Conducting, Jazz Composition/Arranging, Music Education, History, Performance & Theory
AUDITION DATES FOR 2014 ADMISSION Spring & Fall Early Action: December 7 Fall: December 7, February 1 & 15, March 1 & 29 Fall Transfer: March 29
STRING AUDITION DATES FOR 2014 ADMISSION Spring & Fall Early Action: December 2 Fall: December 2, February 10, March 1 & 26 Fall Transfer: March 26
For More Information: firstname.lastname@example.org or 413.545.6048
THE MARCHING COLONELS TAKE THE FIELD!
DEBUTING FALL 2014 www.wilkes.edu/marchingband
NJMEA SALUTES NEW JERSEY’S OUTSTANDING MUSICIANS The New Jersey Music Educators Association is proud of the hundreds of NJMEA members who sponsor the many thousands of students who audition for Region and All-State ensembles during the year. Listed below are the 922 outstanding musicians who were accepted into the 2013-2014 New Jersey All-State Performing Ensembles. Many hours of practice and preparation have been spent by the students and the teachers who have helped these students attain this noteworthy goal. We congratulate everyone who has been a part of these activities.
Victor C. Zhang
Churchill Jr. HS
New Providence MS
Eric D. Tonno
Winslow Township MS
Winston L. Chen Angela Huang Isaac Chehune Oak Dahmin Lim
Marlboro Memorial MS
Churchill Jr. HS
Rebecca Y. Slater
Crystal J. Chiu Irene S. Qiao Kelly Chen Catherine Chen Mia Huang Michelle Zhu Felicia Ho
Highland Park MS Marlboro MS Bridgewater Raritan MS
Allison A. Sobieski
Emma P. Lien
Princeton Day School
Daniel H. Cho
Daniel Seo Brian C. Kong Joon S. Kim Ethan M. Chung
Alpine School Community MS Franklin MS
Viola Allison Chien
Celina G. Zhou
Churchill Jr. HS
Michelle Liu Ribhav Bose
Grover MS Roosevelt IS Community MS
Bass Tanvi Kanchinadam Justin S. Cao
Grover MS Lawrence MS
Christina L. Gangi
Elizabeth R. Bishop Tanav Suman
Samrath S. Singh
Andrea K. Bacich
David H. Zhuang
Teddy S. Masterson
Lance K. Tan
East Brook MS The Pingry School Annin MS
Namita S. Kalghatgi
Harrington Park School
Wilson MS Brooklawn MS
Satz School Community MS
Community MS Toms River IS North Community MS
Crossroads North MS
Mira M. Yang
Montgomery Upper MS
Sarah K. Hwang
Ashley S. Kang
Rosa International MS
Seung Yeon Koh
Marlboro Memorial MS
Michael S. Li
Toms River IS North
Emily L. Wang
Brielle L LoBello
The Pingry School Grover MS
Crossroads South MS
Alexandria N. Zeng
Andrew Samuel Pai
Warren MS Princeton Day School
Gabrielle (Gabby) Y. Lee
Jenna Haeun Kim
Anne F. He
Seo Y. Park
Jin E. Park
Sophia M. Motai
DeWolf MS Heritage MS
Harrington Park School
Christina C. Oh Sophie M. Woodward
Rohit K. Narayanan
Rosa International MS Adams MS East Brook MS
Newark Academy Bridgewater-Raritan MS
FIRST VIOLIN Soyeong Park W Windsor-Plainsboro North Mitchell Dominguez Cherokee Samuel Wang Bishop Eustace Prep Abigail Hong Cherry Hill East Brian Chan W Windsor-Plainsboro North Alex Wang Union County Magnet Matthew Liu Marlboro Carolineu Middletown South Allan Wang Bishop Eustace Prep Grace Lee Moorestown Yunhee Kang Ridge HannahLam Cherry Hill East Yuji Sugimoto Union County Magnet William Lin Tenafly Steven Fu Parsippany Hills Nina Anwar Newark Academy Christina Li East Brunswick Benjamin Chen JP Stevens Sean Uchida Tenafly Austin Jia Millburn Grant Cai East Brunswick Albert Zeng Watchung Hills Reg Andriy Gavrysh Morristown Sean Yoshida Fort Lee SECOND VIOLIN James Lin Bridgewater-Raritan Reg. Valerie Bai Morristown Solomon Oak Bergen County Academies Grant Gardner Millburn Christin Hong Montgomery Jessica Yu East Brunswick Zihao Mi East Brunswick Brendan Wu JP Stevens Emily Chen Bergen County Academies Amy Ro Moorestown Grace Kwon Bergen County Academies Samantha Chen Morris Hills Zaibo Wang W Windsor-Plainsboro South Victoria Qian Hunterdon Central Reg Katie Lim Ridgewood Jonathan Chen Livingston Young Hun Kim Ridgewood Seung Ho Lee Ridgewood Rachel Choi Ridgewood Melodee S. Li High Technology Emily Gaab Sparta Kenneth Kao JP Stevens Mauranda Men Newark Academy Crystal Lee W Windsor-Plainsboro North VIOLA Johanna Nowik Little Way Homeschool Tess Jacobson Bridgewater-Raritan Reg Cindy Gong Acad. of Allied Health Sciences Krishna Mallem W Windsor-Plainsboro South Penny Luan W Windsor-Plainsboro South Nathanael Kim Millburn Christina Johnson Columbia Justin Bak Tenafly Daniel Qian East Brunswick Christopher Li Millburn Jonathan Lin Hunterdon Central Reg
Jason Yim Jasmine Pak Samuel Cheng Elise Zhou Kenneth Lee
Tenafly Glen Rock East Brunswick Parsippany Hills No Valley Reg at Old Tappan
CELLO Timothy Oak No Valley Reg at Old Tappan David Ryu Bergen County Academies Jaehyun Kim Bio Technology Jeremiahu Mountain Lakes Andrew Ma W Windsor-Plainsboro North Elizabeth Lee Eastern Reg Michael Wang West Essex Reg Sumin Lim East Brunswick Max Lauring Bergen County Academies Danielle Chung Madison Kevin Shen East Brunswick David Kim East Brunswick Michael Oh East Brunswick Iris Peng Livingston Phyllis Chou Parsippany Jason Wang W Windsor-Plainsboro North BASS Markus Lang Allentown Alan Wang W Windsor-Plainsboro North Zachary Merkovsky Dumont Conor Oâ&#x20AC;&#x2122;Hale Millburn Thomas Michel Cherry Hill West Rachel Lesser Bridgewater-Raritan Reg Raadhika Kher W Windsor-Plainsboro South Joseph Abbate Egg Harbor Twp Sydney Whaley Bridgewater-Raritan Reg PICCOLO Nicholas Ioffreda
Princeton Day School
FLUTE Alison Fierst Emily Choi Grace Chen Melissa Danitz
Point Pleasant Borough JP Stevens Bridgewater-Raritan Reg Chatham
ALTO FLUTE John Ray
Watchung Hills Reg.
OBOE Juliette Chu Peter Jin Dahee Lee Larry Wang
Paramus Sparta Paramus JP Stevens
ENGLISH HORN Elyse Kuo
BASSOON Deborah Kim Jaryd Yia Dennis Brookner Robert Parson
Park Ridge Cherry Hill East Bridgewater-Raritan Reg Rahway
CONTRABASSOON Graham Deubner
CLARINET Kevin Liu Rachel Diao Abhinay Tirupati Alison Ho
Ridge JP Stevens JP Stevens Bridgewater-Raritan Reg
Eb SOPRANO CLARINET Alex Brod BASS CLARINET Julia Zou FRENCH HORN Kevin Ayres Emily Galow Ian Clarke Ridgely Franklin Lauren Robinson Samantha Slockbower Isabel Kaspriskie Bryan Ryu TRUMPET Bret Magliola Megan Robinson Socrates Leotsakos Phillip Schroeder Bryan Lin Timothy Gallagher
Millburn JP Stevens
Ramapo Mahwah Somerville W Morris Mendham Newton Mahwah West Orange Paramus Mahwah Newton Sparta Rahway JP Stevens No Hunterdon
TROMBONE Nikhil Thomas JP Stevens Kaeli Lange Warren Hills Reg Robert Wang JP Stevens Benjamin Dettelback Bridgewater-Raritan Reg Andrew Ye JP Stevens Mark Pino Mainland Reg TUBA Matthew Wolffe TIMPANI Steven Chien
Millburn W Windsor-Plainsboro North
BATTERY PERCUSSION Emmanuel Solano Ramirez Piscataway Thomas Martin Point Pleasant Borough Christian Lopez Piscataway Benjamin Cornavaca East Brunswick Nikola Kamcev Clifton Alex Di Fabio Westfield MALLET PERCUSSION Emily Carvalho
HARP Joan Lee Katy Wong
PIANO Luke Ciancarelli
SOPRANO I Haley Barna Heather Birmingham Meâ&#x20AC;&#x2122;Lia Boykin Amy Chipko Anna Close Sarah Cole Samantha Cordasco Sara DiDiego Maggie Dougherty Taylor Feldman Theresa Fineza Claire Fitzpatrick Julie Funesti Alyssa Giannotto Rachel Goldman Allison Harris Becca Hoffman Patricia Irwin Nitya Iyer Arielle Kasnetz Shriya Khonde Olivia Konteatis Sarah Korath Kaila Krauser Jamie Kwan Kendall Liang Maggie Madamba Imogen Mills Nicole Mingle Sruthi Nanduri Alexandra Pease Mary Roberts Katherine Robinson Kimberly Roth Alessia Santoro Nisha Shankar Julia Shapiro Elisabeth Siegel Laurel Soffer Sage Spitz Haley Teicher Caitlin Thomas Sarah Thomson Kaamya Varagur
Sparta North Hunterdon Bloomfield Roxbury Scotch Plains-Fanwood Edison Ridge Ridge Chatham Howell Hillsborough Summit Hanover Park Howell Bernards Bernards Morristown Cherry Hill East JP Stevens Millburn JP Stevens Chatham River Dell Reg West Morris Mendham JP Stevens West Morris Mendham Oakcrest Hopewell Valley High Point Reg JP Stevens Columbia Delaware Valley Reg Red Bank Reg Westfield Governor Livingston JP Stevens Holmdel Cherry Hill East Homeschool Montville East Brunswick Leonia Chatham JP Stevens
SOPRANO II Gabrielle Allegro No Valley Reg - Demarest Ashley Avicolli Rutgers Prep Natalia Bellini Kinnelon Hallie Berger Cherry Hill West Krishti Bhaumik Watchung Hills Reg Meredith Brandt Eastern Reg. Melissa Brauner Mahwah Rachel Brudner Holmdel Mackenzie Clark Red Bank Reg Greta Colman Gateway Reg Samantha DeGardnuer Overbrook Senior Cassidy Dixon Bernards Lucy Esposito Cranford Marissa Ferrara Bergen County Academies Lucia Fratarcangeli Montgomery
Erin Gaffney Roxbury Claire Gautier Haddonfield Memorial Sidney Gish Randolph Julia Heckelman Summit Katiu Parsippany Brynn Johnson Summit Sarah Jung River Dell Reg Sarah Kahn Cherry Hill East Hannah Kim Cherry Hill East Kristen Kozma Robbinsville Collette LeBoeuf Immaculata Carly Maitlin Millburn Katherine Merwin Morristown Kaitlyn Metro Roxbury Michelle Miles Woodstown Maya Mitterhoff Scotch Plains-Fanwood Christina Monticciolo West Morris Central Jenna Najjar Howell Hannah Nye Columbia Victoria Ortiz Overbrook Senior Courtney Ravelo Red Bank Reg Carolina Restrepo Bergenfield Caitlin Ross Randolph Kristen Rutigliano Howell Chelsea Simpkins Pennsville Memorial Paige Springmann Delaware Valley Reg Briana Tortoriello Toms River East Sabrina van Vliet North Brunswick Lucy Watts Cherokee ALTO I Sandy Ahn Ridgefield Memorial Juliet Bender Cherry Hill East Catherine Bombard Wayne Hills Vanessa Cajes Bergenfield Julia Chung No Valley Reg - Old Tappan Briana Cole New Milford Melissa DiSanti Sparta Mikaela Dixon Bridgewater-Raritan Christina Dornbusch Voorhees Alyssa Fanelli Cedar Grove Hannah Friedman Holmdel Marisa Frigoletto Howell Lauren Galamay Edison Dana Goodstein Summit Veronica Gunther Woodstown Jacqueline Hauck Hunterdon Central Reg Rebekah Hein Northern Burlington Reg Alexandra Heyburn Cranford Zabrielle Holloway Audubon Lily Jacobs Millburn Isabelle Kim North Jersey Home School Jordan Lawrence No Valley Reg - Demarest Amber Lin JP Stevens Vivienne Longstreet Columbia Uma Mahalingam No Valley Reg - Old Tappan Molly McDonald Roxbury Laura McLaughlin West Milford Twp Sophia Metcalf West Milford Twp Kristi Monte Brick Memorial Larissa Nam Rutherford Neelam Patel Wardlaw-Hartridge School
Natalie Persia Gianna Porfano Christine Porr Becca Rapp Kelly Reynolds Maria Roscoe Karaline Rosen Michelle Rossi Christine Rushmore Alison Rydwin Chelsea Sardoni Kelsey Seaman Amy Vonder Haar Stephanie Wells Alison Wolfer
Delsea Reg North Hunterdon Summit Pennsville Memorial Summit Bishop Eustace Prep Robbinsville Egg Harbor Township Moorestown Immaculata Robbinsville Howell Hackettstown Sparta Paramus
ALTO II Samantha Adams Lenape Katie Arnold High Point Reg Sarah Bajohr Howell Hanna Balatero Newton Gabrielle Beeferman Kinnelon Annie Busarello Audubon Aisvarya Chandrasekar JP Stevens Ambika Chetal Millburn Cheryl Chu JP Stevens Kaitlin Demarest Woodstown Mariana Duenas Bergen County Academies Nicolette Fino Howell Samantha Gaines Tenafly Megan Good Wallkill Valley Alexandra Hawley Roxbury Kyu Jin Jang Fort Lee Julianna Kamenakis Pennsville Memorial Chandni Khawaja Hunterdon Central Reg Lauren Kilcullen Scotch Plains-Fanwood Olivia Kim Bergen County Academies Carolyn Kirsch Audubon Veronica LaBelle Sparta Grace Lee Parsippany Hills Kaitlyn Leonard Howell Yifei Li Millburn Alexandra Livesey Hunterdon Central Reg Elyse Mackenzie Cranford Connie Meyer Ocean City Philline Miquela Matawan Yubin Park Bergen County Academies Mukta Phatak Governor Livingston Brittany Powelson Bridgewater-Raritan Emily Rohlfs Roxbury Crystal Romyns High Point Reg Gabrielle Russo Howell Samantha Scalia Haddon Township Sara Schulmann Howell May Shum Tenafly Meghan Smith Howell Rachel Staffin Bridgewater-Raritan Alyssa Tryon Roxbury Kylie Turner Morris Knolls Lauren Weber Howell Natalie Wulderk Woodstown
TENOR I Radheshwar Arora JP Stevens Zachary Baccaro Roxbury Joshua Bodanza Overbrook Senior Daniel Brennan Ridgewood Alex Carr Hunterdon Central Reg Jarrod Cupps Gateway Reg Samuel Czerski Audubon David Dizdari Nutley Ryan Doherty Kittatinny Zachary Doimi Hunterdon Central Reg Daniel Eyerman Parsippany Hills Nicholas Ferraro Howell Matthew Fertakos Chatham ShinHae Kim Ridgefield Memorial Oleksander Krul West Morris Central Evan Kudish Freehold Nolan LaFountain Overbrook Senior Steven LaMaita Governor Livingston David Latimer Overbrook Senior Paul Lee East Brunswick Morgan Mastrangelo Ridgewood Brandon Nieves Overbrook Senior Dylan Nixon Northern Burlington Reg Panico Jesse Sterling Jong Park East Brunswick Xavier Polo Monroe Township Alex Ramos Bergenfield David Rezk Cedar Grove Ryan Sagedy Cherry Hill West Robert Stark The Hudson School Brandon Strickland Paulsboro Todd D. Sweeney Cranford Jason Thiagaram JP Stevens Preston Tolbert Madison Derek Walsh Chatham Geddy Warner Cranford Dennis Zhang JP Stevens TENOR II Christopher Bailey Cedar Grove Joseph Barton Pemberton Tyler Beresford Cranford Jack Bird Ridgewood Aaron Bogdanovsky East Brunswick James Buhse Matawan Jim Calderon Bergenfield Jonathan Chao Bergen County Academies Ryan Connelly Eastern Reg Vincent DeSeno Howell Alexander Fiedler Verona Scott Fishkin Mahwah Kevin Fritz Bergenfield Mike Grant Roxbury Pulkit Gupta Northern Burlington Reg Will Hackett Chatham Blake Hina Washington Township Stephen John No Valley Reg - Old Tappan Kevin Joseph Bergenfield
Omkar Joshi JP Stevens Devin Kenney Cranford Jay Kim No Valley Reg - Old Tappan Don Kim Ridgefield Memorial SeokJin Kim Ridgefield Memorial Adam Kohane River Dell Reg Luke Leifken Newton Daniel Lim Cherokee David Lo River Dell Reg Ethan Lynch Randolph Patrick Martini Red Bank Reg Kevin McElwee Point Pleasant Beach Julian Mone Westfield Shiv Nadkarni JP Stevens Rob Nealy Egg Harbor Township Michael Nitting Chatham Dante Pasquale Hanover Park Matthew Peters West Morris Mendham John Peterson Shawnee Russell Pinzino Columbia Kyle Pitts Vernon Twp Dylan Randazzo Cranford David Sherman Howell Adam Sokolski Kinnelon David Tarantino North Jersey Home School Gurnoor Tucker JP Stevens Stephen Walley Bernards Matthew White Hightstown JunHong (Jon) Yi No Valley Reg - Old Tappan David Zarish Allentown BASS I Jonathan Betti Matthew Boyd James Burbank Patrick Carpenter Austin Chen Lucino Chiafullo Garrett Davis Jonathon Dawson Jason Diaz James Eckert Evan Fleming Mitchell Folan Garrett Forrestal Benjamin Gelber Rohit George Sean Gillen Chavin Haines Jesse Hann Jason Hanse Michael Kendis Eugene Kim Bennett Kosma Jeffrey Lampiasi Joseph Larkin Ian Laudano Byongho Lee Jacob Lindberg
Hunterdon Central Reg Shawnee Monroe Township Kingsway Reg JP Stevens Ridge Overbrook Senior Scotch Plains-Fanwood Allentown Roxbury Cinnaminson Parsippany Hills Cranford Cranford West Orange Vernon Twp Ridgefield Memorial Voorhees North Jersey Home School East Brunswick Bergen County Academies Bergen County Academies Weismantel East Brunswick Matawan High Point Reg Morristown-Beard School
Daniel McGinley Daniel Montealegre Will Myers Ian Nadler Daniel Pak Mike Parisi Aditya Patwardhan Nathaniel Poblete Thomas Schreck Timothy Shim Peter Sileo Zachary Silver Thomas Smith Jeffrey Suckle Alex Walejewsky Alexander Watson Michael Willis Jared Zak
Hightstown Cranford Bernards Randolph Academies @ Englewood Overbrook Senior Bridgewater-Raritan Edison Morris Knolls Montville Sparta Lenape Roxbury Overbrook Senior Scotch Plains-Fanwood Roxbury Parsippany Hills Boonton
BASS II Alex Barbet Wardlaw-Hartridge School Noah Belmont Cranford Julien Blanchard Chatham Kenneth Bransdorf Haddon Heights James Carman Sterling Jonathan Chang Ridge Corey Chen JP Stevens Daniel Cheng JP Stevens Kyle Dunn Leonia Phillip Fisherman North Brunswick Derek Foglein Clayton Tejaswi Gutti JP Stevens Donte Harris Overbrook Senior Dustin Kammler Overbrook Senior Hyeon Woo Kim Ridgefield Memorial Ryan Lasker Mahwah Matthew Laude Pemberton Alex Luckenbaugh Hillsborough Lucas Marin Highland Park Manuel Marquez Bergenfield JC Miranda Ridgefield Memorial Jordan-Kerry Mitchell Howell Ross Mulcahy Scotch Plains-Fanwood Daniel Park Academies @ Englewood Jaehyun Park Academies @ Englewood Zach Pinnella Shawnee Daniel Robertson Westwood Reg Hansel Romero Scotch Plains-Fanwood William Roper New Providence Ariel Sanchez Bergenfield Tyler Sapp Northern Burlington Reg Jacob Sasso Edison Brandon Seigel Washington Township Tyler Smith Morristown-Beard School Thomas Smith Oakcrest Samuel Tucker South Hunterdon Reg Ben Wetherbee Overbrook Senior Justin Yen North Jersey Home School Dustin Zhao Bridgewater-Raritan
PICCOLO Yingtao (Dorothy) Qu
FLUTE Lucia Tu Bergen County Academies Grace Chen Bridgewater-Raritan Lia Chen Hunterdon Central Reg Melissa Danitz Chatham Amy Tsai W Windsor-Plainsboro South Michelle Lu Academy of the Holy Angels Bethany Tsai W Windsor-Plainsboro No. Ruchita Balasubramanian East Brunswick Cynthia Tsai JP Stevens Yaeji Chang Mahwah Laura Willis Hopatcong Jessica Zhang Bernards OBOE Justin McBurney Marshall Yuan Phillip Kim Katherine Rakus ENGLISH HORN Edward Park
Bridgewater-Raritan Bridgewater-Raritan Palisades Park Jr/Sr Homeschooled Ridge
BASSOON Amanda Eider Allentown Kenny Wang Whippany Park Halina Maas Ridgewood Manroocha Singh W Windsor-Plainsboro No. Eb SOPRANO CLARINET Philip Muratore Middletown No. Bb SOPRANO CLARINET Katarina Wang East Brunswick Yunseok Choi Ridgewood David Fan Montgomery Arpan Chakrabarti JP Stevens Eric Zhou East Brunswick Alex Yi Cresskill Jennifer Li Mahwah Anya Swinchoski Wall Lawrence Lin Parsippany Emma Grey Bernards Matthew Yuan Montgomery Nicole Huang JP Stevens Jason Xu East Brunswick Steven Xie JP Stevens Thomas Baum Mahwah Ian Lee Montgomery Jacqueline Quan JP Stevens Timothy Han Bridgewater-Raritan Michael Raia Freehold Ji-Yun Lee Pascack Hills Wendy Wang JP Stevens Casey Breen West Morris Mendham Michelle Wu Bridgewater-Raritan William Xu Millburn
ALTO CLARINET Hongjin Xia Patrick DeMichele Nicholas Seifert Stefan Lim
JP Stevens Bridgewater-Raritan Bridgewater-Raritan JP Stevens
BASS CLARINET Kaajal Sagar Mahwah William Kwak Acad of Allied Health Sciences Daniel Rios Randolph Justin Romano Toms River East CONTRABASS CLARINET Dean Kim Justin Jones ALTO SAXOPHONE Pratik Pradhan Phillip Tow Louis Danowsky Jason Kimko
JP Stevens JP Stevens JP Stevens Montgomery Millburn Montgomery
TENOR SAXOPHONE Grady Barber Cherokee Marina Sakellakis Bergen County Acad BARITONE SAXOPHONE Anthony Do Bridgewater-Raritan Thomasu JP Stevens TRUMPET Justin Fraser Howell Charlie Barber Cherokee Alonzo Ryan W Windsor-Plainsboro South Matthew Scheffler Long Branch Megan Robinson Newton Kevin Biernat Clifton Dallas Taylor Lenape Reg Christopher Sweeney Verona Benny Diaz No. Bergen Joseph Giguere Lakeland Reg Clayton Powell Kittatinny Reg Kyle Elgarten W Morris Mendham Katherine Van Orden No Highlands Reg FRENCH HORN Danielle Staffin Bridgewater-Raritan Elizabeth Bellotti W Windsor-Plainsboro No. Christian Marino Jefferson Twp Alanna Staffin Bridgewater-Raritan Michael Wang JP Stevens Emily Galow Mahwah Rachel Staffin Bridgewater-Raritan Samantha Slockbower Mahwah
TROMBONE Scott Kirshner Ben Dettelbeck Lezhou Jiang AndrewYe Ryan Boyle Aidan Williams Nathaniel Santelli Danielle Padron Mark Pino
Bridgewater-Raritan Bridgewater-Raritan Ridge JP Stevens Wall W Morris Mendham Clifton Roxbury Mainland Reg
BASS TROMBONE Rajeev Erramilli James Alfaro
Holmdel Mount Olive
EUPHONIUM Harrison McClarren Sriram Mohanakanthan Chengyin Jiang Lea Chen
Bridgewater-Raritan Glassboro JP Stevens JP Stevens
TUBA Thomas Graf Thomas Galow Brian Gieger Francis Ledesma Matthew Sakasitz Brandon Wong
Roxbury Mahwah West Essex Clifton Bridgewater-Raritan Montville Twp
STRING BASS Peter Adams
Delaware Valley Reg
BATTERY PERCUSSION Jeff Sagurton Jared Wolfe Emmanuel Solano Ramirez Jake Silvoy Nicholas Cela MALLETS Salina Kuo Ethan Scully Angelica Marie Cruz
Mahwah Cherokee Piscataway Kinnelon Nutley
Absegami Overbrook W Windsor-Plains. No.
TIMPANI Rebecca Waitkus
PIANO Ellim Kim
PICCOLO Katarzyna Dobrzycka
FLUTE Emily Choi Emma Parker Reina Hoshino Jessica Ho
JP Stevens Cherry Hill East East Brunswick JP Stevens
OBOE Juliette Chu Peter Jin ENGLISH HORN Kristen Park BASSOON Timothy Ruszala Dennis Brookner
SAXOPHONES Emmet Rapaport, Alto Louis Danowsky, Alto Grady Barber, Tenor Joshua Kirschenbaum, Tenor Wes Christmann, Baritone TRUMPET Samuel Wolsk Nathan Constans Alonzo Ryan Patrick Dudasik Austin Marcelo
CONTRABASS CLARINET Griffin Charyn
ALTO SAXOPHONE Daniel Kim Amanda Gu
Ridgewood JP Stevens
TENOR SAXOPHONE Michael Xie Bridgewater-Raritan
BARITONE SAXOPHONE Derek Ritschel Whippany Park
Bb SOPRANO CLARINET Eric Just Home School Kevin Liu Ridge Abhinay Tirupati JP Stevens Rachel Diao JP Stevens Allison Ho Bridgewater-Raritan Ethan Kang Churchill Junior Pavan Chary Deptford Raymond Hu Montgomery Dominick Scalia Freehold Twp ALTO CLARINET Kelly Yu Julia Zou
West Essex Bridgewater-Raritan
Eb SOPRANO CLARINET Jennifer Rha
BASS CLARINET Maurice Wong
JP Stevens JP Stevens
TRUMPET Patrick Ferner Bryan Lin Patrick Peters Leela Hegde James McAloon Katlyn Schroder FRENCH HORN Ian Clarke Lauren Robinson Gabriel T. Bedard Isabel Kaspriskie Michael Burris
Westwood Reg Jr/Sr JP Stevens Newark Academy JP Stevens Williamstown Howell Somerville Newton Lakeland Reg West Orange Cherokee
TROMBONE Robert Wang JP Stevens Ross Chapman W Windsor-Plainsboro North Nikhil Thomas JP Stevens Kaeli Lange Warren Hills Reg
Ridgewood HS Millburn HS Cherokee HS Mountain Lakes HS Newark Academy Princeton HS Haddon Twp HS W Windsor-Plainsboro HS So Nutley HS Shawnee HS
TROMBONES Dan Sturm Eli Feingold Jack DeVries Rajeev Erramilli RHYTHM Aditya Raguram, Piano Joseph Bell, Guitar Kai Kiernan, Bass Ashwin Prasanna, Drums
BASS TROMBONE Marco Jaimes
EUPHONIUM Jesse Pedersen Hannah McAuliffe
Monroe Twp High Point Reg
TUBA Matthew Wolffe Cole Whittenburg
STRING BASS Aneesh Jonelagadda
W Windsor-Plains. So.
BATTERY PERCUSSION Nikola Kamcev Clifton Alex Di Fabio Westfield Benjamin Cornavaca East Brunswick Reed Puleo W Morris Mendham MALLETS Samuel Hardy Rebecca Adelman Evan Lewis TIMPANI Ken O’Rourke
Morris Knolls W Morris Mendham Freehold Twp Newton
PIANO Molly Quan
HARP Joan Lee
Princeton HS Marlboro HS Morris Knolls HS Holmdel HS Princeton HS Princeton HS W Windsor-Plainsboro HS So Holmdel HS
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Snare Drum Technique For The Non-Percussionist by Domenico E. Zarro Palisades Park School District email@example.com http://www.zarropercussion.com/
eveloping and maintaining technical proficiency is a lifelong endeavor of any musician. Therefore, it is fair to say that a core construct of musicianship is technique. Moreover, teaching technique is a challenge for any experienced music educator; especially if it pertains to an instrument that is not in one’s realm of expertise. Thus, as a means to assist the music educator who is not a trained percussionist, the objective of this article is to outline the foundations of technical development for the beginning snare drum student. Materials Students who are beginning their study do not require a snare drum to practice. Any standard practice pad is more than adequate to address their needs. As it pertains to sticks, a student can be left to choose a pair that best meets his/her hand size; hence, what feels most comfortable in his/ her hand. But, if a student is unsure what to pick, a size 2B or 5B would be appropriate for most students; the thickness of either model can aid a student as he/she develops the fundamentals of how to hold a stick. A method book is a personal choice of the instructor based upon one’s experience and pedagogical approach. Furthermore, there are many fine methods available to the profession, but there are a few areas one may wish to consider when deciding upon a particular method book. First, most students, who do not study privately, will only use one method during their course of study. Therefore, it would be prudent to choose one that will cover the most common rhythmic patterns one will perform throughout high school; to choose a method that addresses numerous time signatures; and one that addresses the most common
drum rudiments. Additionally, due to the various needs of students, it may be beneficial to choose a method that is simplistic in its structure, thereby, allowing the instructor to coordinate the method with his/her pedagogical approach; thus, alleviating any confusion for the student. How To Hold The Sticks There are two grips used to perform on the snare drum: Traditional Grip and Matched Grip. This article will focus on Matched Grip for a few reasons: first it is easier to master and is less complicated to teach, particularly for one who is not a trained percussionist. Secondly, Matched Grip is universal, in that it permits the student to naturally transfer to performing mallets and timpani. There are three parts to the drum stick: the butt, shaft and tip. Before having the student place the stick into his/her hand, have the student cup his/her hand with the palm facing up. Doing so, will cause a crease in the middle of the palm; this is where the butt of the stick should be placed (Ex. 1). Next, have the student align his/her thumb and index finger on each side of the stick; following, have the student take his/her middle finger and come across the stick and touch his/her palm. It is these three fingers which control the stick; thereby, making the stick an extension of one’s arm (Ex. 2).
Striking The Drum The drum should be kept flat and/or level at approximately the student’s waist, thus, enabling the student to have a natural bend at the elbow of a little more than 90º. When striking the drum, the student should aim to strike the drum head just above or below the center of the drum. Moreover, the tips of the sticks should be parallel to each other, ensuring that one stick is never above the other. Before the student strikes the drum, he/she should keep his/her wrists bent up ready to play. Next, have the student envision his/her hands like a See-Saw; as one hand is delivering the stick to the drum, the other is up, and vice-versa as the other begins to strike the drum. When striking the drum, the student’s palm should be toward the floor, and as the stick hits the drum head, the student should never pull the stick away from the drum. Instead, the stick should be delivered and allowed to rebound; much like throwing a ball. Sticking Exercises In the 1930’s, George Lawrence Stone devised a series of rhythmic exercises that he developed into a book entitled, “Stick Control”. Still in print, the purpose of this book was to refine the technical skill of the student by developing his/her strength, endurance and fluidity of motion through the art of rebounding the stick. The exercises presented are various rhythmic patterns that specify when either hand is to play. Since the creation of “Stick Control”, there have been many other methods that incorporate this concept. Furthermore, it is a concept that any teacher can easily create and implement with his/her students to address their needs (Ex. 3). MAY 2014
Students tend to forget aspects of what has been modeled and/ or discussed in their lessons. Thus, to gain the most out of a sticking exercise, begin by having the student perform it slowly and loud; remind the student of the placement of the butt of the stick and how it is an extension of one’s arm; remind the student of the placement of his/her fingers and that they may need to slightly pinch them to control the stick; and remind the student of the See-Saw Motion while performing the exercises. Doing such has a number of benefits: first, it permits the student to study his/her hands to ensure that proper position and technique is being put into practice; secondly, performing in this manner assists in developing the student’s muscle memory and hand strength; third, once the aforementioned is adequately demonstrated, the student can begin to increase the tempo of the exercises and focus on the task of rebounding the stick; again remind the student of delivering the stick much like throwing a ball.
Thus, incorporating rhythmic solfeggio into the lesson can help the student to correctly interpret, and accurately perform under a conductor. Additionally, rhythmic solfeggio can be beneficial to all students, not just to those who are studying percussion. To begin, have the student count aloud and clap a given rhythmic exercise; again, making sure that the student is always subdividing. Following this, have the student vocalize the exercise by saying Taah for each note. While vocalizing the exercise have the student clap on every down beat, even if it is a rest. Thereby, forcing the student to count in his/her head. Once this has been mastered, have the student vocalize the exercise again, but instead of clapping on the down beats, have the student conduct to the corresponding time signature. In turn, the student can now correlate how the pattern, and the ictus of said pattern, define where the down beats lie (Ex. 4).
Closing Thoughts This article is the first in a series that is specifically for the instructor who is not a trained percussionist. The suggestions provided is this author’s interpretation of how to best teach and employ the above. Therefore, experiment with them and make it your own; and if possible, seek the advice of a colleague who is a trained percussionist. Lastly, please feel free to contact me if you have any thoughts or questions through my website at: www.zarropercussion.com.
Timing and Rhythmic Feel The most common expectation of a percussion section, is that they perform rhythms accurately and in time. Unfortunately, developing an understanding of timing, and how rhythmic patterns correspond, is difficult to teach, let alone understand by the student. Hence, it is developed over time, for it is a concept that is not ascertained through lecture and demonstration, but through practice until it is internally and instinctively felt. However, there are steps one can employ to cultivate a student’s understanding. First, have the student count the down beats aloud at the start. Second, once a student begins his/her study of eighth notes, have the student count aloud while constantly subdividing the down and up beats. In addition to subdividing aloud, incorporate the use of a metronome. Thus, by instituting the use of a metronome at this stage, students can correlate the difference between up and down beats, especially when setting the metronome to click on every eighth note. Furthermore, some students find it beneficial when the instructor taps on their shoulder; thereby, allowing him/her to internalize the metric pulse and/or rhythmic pattern. Along with developing the concepts of timing and rhythmic feel, is the ability of the student to correlate the aforementioned when following a conductor. This topic is a technical skill and/or art form itself. Percussionists who experience difficulty following a conductor will often confuse what they hear, to the ictus of the conductor’s baton. This can be further compounded by the student’s lack of understanding as it pertains to conducting patterns.
Domenico E. Zarro received his B.F.A. in Percussion Performance from the Purchase Conservatory of Music; and an Ed.M. and an Ed.D. in the College Teaching of Music with a focus in Percussion Pedagogy from Columbia University. Dr. Zarro has published articles in Percussive Notes, Tempo Magazine and the National Association of College, Wind and Percussion Instructors Journal. He has been invited to present guest lectures at colleges, universities and at state, regional, national and international conferences of the Percussive Arts Society, National Association for Music Education, College Music Society and the National Association of College Wind and Percussion Instructors. In addition, Dr. Zarro is an artist with HaMaR Percussion Publications and has recorded with Mark Records. As a performer, Dr. Zarro has appeared as a soloist with college and university orchestras and percussion ensembles and was Principal Percussionist and Assistant Timpanist with the Bergen Philharmonic. As an educator, he is the Director of Instrumental Music and Cultural Arts for Lindbergh School of the Palisades Park School District; he served as an Adjunct Professor of Music at Felician College; and is the President of The New Jersey Chapter of The Percussive Arts Society. He can be reached at www.zarropercussion.com.
Choosing Our Words With Care… Talk About Students With Disabilities by Maureen Butler Lake Drive School firstname.lastname@example.org
n the world of special education, we’re inundated with acronyms, terms and abbreviations whose purpose is both to identify conditions or disorders and to describe common characteristics. These terms are helpful as we determine how to modify instructional material and accommodate children in our music classes. However, sometimes the words we may use to describe students may not be as helpful as we think. In fact, we may have become accustomed to using language that may be disrespectful to and not preferred by those with disabilities. As educators, we may be confused about the correct terminology we should use when discussing our students with disabilities. We want to be sensitive in our choice of words, and yet it may be difficult to keep up with current accepted practices. At times it seems that we become accustomed to one word or term just in time for it to be replaced by another. Word usage has changed as we, as a society, have become more sensitive to those with disabilities. Consider these examples of terms that have replaced those that might carry a negative connotation: • Congenital disability (instead of birth defect) • Brain injury (instead of brain damaged) • Physical disability (instead of crippled, or a cripple) • Down syndrome (instead of mongoloid) • Wheelchair user (instead of wheelchair bound) • Person of short stature (instead of midget) What About The Word Handicap? In 1990, federal law governing the education of children with disabilities replaced the term “handicap” with “disabilities.” Handicap refers to physical, environmental, or even attitudinal barriers that prevent access or opportunities for people with disabilities. For example, it would be correct to say that a set of stairs may present a handicap to a person with physical disabilities, but not correct to say the person has a handicap. Also, elevators, ramps and parking spots that provide access to people with physical or mobility disabilities are not considered “handicapped” but instead, “accessible.” Person-First Language For at least twenty-five years, “person-first” language has been accepted practice for written and spoken language (see IDEA, 1990, and APA, 1992). When we refer to one’s disability first, we are defining the person by his disability – as if that was his most important attribute. When we refer to the person first, we treat the person as an individual who has a disability, thereby shifting the focus to a person who has many traits and characteristics.
Here are some examples of the difference: Disability-first Person-first The paraplegic in my class The student with paraplegia The retarded child The child with developmen tal or cognitive delays She is a cripple. She has a physical disability. The blind child The boy who is visually im paired The emotionally disturbed child The child with emotional or behavioral disorders The one exception to person-first language involves deafness. Members of the Deaf community have their own language (American Sign Language), culture, values and traditions and the term “Deaf ” (note the capital D), rather than being seen as a disability, is a source of pride. Deaf people generally dislike the term “hearing impairment” since they do not see deafness as a disability. However, students in your classes who do not identify with the Deaf community, including those with a mild to moderate loss may prefer to be called “deaf ” (no capital d), “hard-of-hearing” or “hearingimpaired.” Some students with a cochlear implant may not wish to be called deaf at all and their families may describe them as ”having a hearing loss.” You can see that just as technology continues to change the lives of people with disabilities, so does it affect the terminology we use. Note, too, that the choice of language may vary from family to family, so be sure to be sensitive to what the child and family want. A good general practice when in doubt about how to refer to someone’s disability is to ask the person himself. Other Phrases To Avoid Thoughtfully consider your choice of words and eliminate those that may convey pity, create barriers, or show disrespect in any way. For example, people with disabilities do not want to be considered “victims” (as in a stroke victim); “suffering” (as in suffering with multiple sclerosis); or even “brave or courageous.” Also, avoid referring to a group of people as “the” anything, such as “the blind,” or “the disabled.” What About “Normal?” To use the words “normal” or “healthy” when referring to typically developing children implies that children with disabilities are neither normal nor healthy. It is more respectful to say non-disabled or a child without a disability.
Special Needs Lately, the terms “special needs” and “special learners” have been in vogue, and are good examples of how word usage changes over time. Some disability organizations indicate that these terms are not preferable, since they seem to set children apart. Many parents do not appreciate the “special learners” description in part because they think that teachers will make generalizations about their individual child. Moreover, they feel that the term expresses a sense of pity, and in the classroom, may create low expectations on the teacher’s part. Proponents of this view prefer that children either be identified with their specific disability, for example, “the boy with autism;” or in a more general way, “children with disabilities;” or “the children who receive special education services.” See The Child First, Then The Disability If all of this seems overwhelming, it can be simply stated as this: Look at the child first, then the disability. Labels are a good start in understanding the characteristics our students may have, and will help us accommodate for behaviors and learning styles, but they give us only a partial understanding of individual children. Within the classroom we should have realistic expectations based on our understanding of a specific disability, but our expectations should be informed by what we can learn about the specific child based on our own observation as well as discussions with relevant school personnel. As music teachers, we have the opportunity to change lives through music. When we portray children in a positive manner, we create an atmosphere of respect that includes all learners in our classes and ensembles, enabling all to flourish and learn. Resources: Adamek, Mary S., and Darrow, Alice-Ann, Music in Special Education, Second Edition, Copyright 2010, The American Music Therapy Corporation “How to Refer to People with Disabilities”at http://www.ncbi.nlm.nih.gov/books/ NBK64884/ “Respectful Disability Language” at www.miusa. org/ncde/tools/respect APA style guide http://www.apastyle.org/manual/related/ nonhandicapping-language.aspxGuidelines for Nonhandicapping Language in APA Journals IDEA http://www.nichcy.org/wp-content/uploads/docs/ PL108-446.pdf MAY 2014
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I Know The Way Out by Thomas McCauley Montclair State University email@example.com
young man walked through a field one day and suddenly fell deep into a hidden water well. He splashed around and yelled for help for what seemed like hours. An old man happened to be passing by and heard the young man’s pleas for help. “Please! I’ve fallen into this well and I need someone to help pull me out!” With that, the old man removed his shoes and jumped into the well, landing right next to the young man. The young man cried, “Why did you do that? Now we’re BOTH trapped down here and it might be days before someone finds us!” The old man slowly glanced at the young man and said, “I’ve been down here before, and I know the way out.” Seeking help or inspiration from an experienced colleague is not an indication of weakness. On the contrary, it’s a sign of strength of character. Our professional inspirations can come from many places, but chances are that you became a music educator because a great teacher or mentor inspired you. Further, if we want to be that same kind of inspiration for our students, it’s imperative that we ourselves remain inspired. Winston Churchill stated it best: “Before you can inspire with emotion, you must be swamped with it yourself. Before you can move their tears, your own must flow. To convince them, you must yourself believe.” Inspiration can come from many areas of life—family, friends, colleagues, nature, or just about anywhere. However, to become inspired we must be open enough to recognize inspiration when it happens, as well as humble enough to accept the fact that it can be found in the simplest things. The professional life span for music educators is approximately 4.2 years. Indeed, 33% of new music teachers leave the field after the first 3 years.1 This concern isn’t solely
local to the United States; in fact it’s a global trend.2 Unfortunately, teacher “burn out” is quite common in our field. My untested theory is that many music teachers burn out because they try to keep the wrong fires lit. For example, the fire of competition, if approached improperly, can easily burn out because its rewards are fleeting and not substantive. The burning desire to be “right” at all times is a quick path to burn out. Taking the combative route to problem-solving not only affords personal burn out, but might become the means through which you burn down your whole career. Almost all of us work with difficult colleagues, and the most successful among us have learned how to get what we need for our students to flourish without burning too many bridges. Why? Because in this very small world in which we live, it’s possible that we may someday need to work with that same difficult colleague some other time and place. With the untold hours many of us spend improving our music programs it’s only natural that we at times feel fatigued. When I taught high school, for example, my daily schedule included: 6:30AM - Jazz Ensemble 7:30AM- Marching Band 8:30AM- Wind Ensemble 9:30AM- Symphonic Band 10:30 AM- Music Appreciation Lunch Prep Period 1:00PM- Department Chair meetings and business 2:30PM - Run errands for school and get dinner 6:00PM- After school rehearsals
Getting home almost every night at 10:00 pm and waking so early the next morning was not easy. Fatigue naturally rested on my shoulder, ready to take over at any moment. I had to find ways to keep my personal fire burning. In addition to my daily schedule, I’m also the definition of an
introvert and working with colleagues and administrators requires me to exert more energy than it might for others. What I discovered was that the answer for me was found in music and running. During my second year of teaching, stress got the better of me. For that, my doctor had only one prescription: He ordered me to buy a pair of running shoes and to use them on a daily basis. Those who know me now will find this difficult to believe, but at that time the daily running became so enjoyable and I became so in shape that I ran two marathons within a three-year period. The physical issues that I suffered due to stress from school eventually began to subside and became manageable. For me, inspiration is what the word implies—spirit. When I’m exposed to an artist that creates from the soul, no matter the medium or genre, I am always inspired. Marathons aside, what helped me to avoid burn out came from falling in love with music all over again. This was a long process for me because I spent many years as a trumpeter playing in Las Vegas house bands and lounge acts. The tedious toil of two shows per night, six nights per week while playing the exact same music exactly the same way every single night had taken its toll; music making had become my “job.” To begin to release myself from the grip of apathy, I started listening to and studying great masterworks. In addition to working on and preparing the band pieces for my groups at school, I also spent some time each day with music that I most likely would never have the opportunity to perform. This included the symphonies of Beethoven, Brahms, and the operas of Mozart. What happened through this process was that I not only became familiar with and inspired by these masterworks, but I also found myself becoming a better teacher, conductor, and MAY 2014
musician for my students. And more importantly, I slowly began to rediscover my love for music and became a better musician and person. Even now, when I’ve become a teacher and mentor to many, I still look for opportunities to learn and grow as an artist, musician, teacher, and conductor. Oddly enough and throughout 25 years of teaching, my professional goals have remained the same. They are: 1. To make music at the highest level possible with as many people as possible. 2. To become the best musician, teacher, and conductor I can be. I’m constantly trying to surround myself with people who are more musically and personally advanced than I am and to learn from them at every opportunity. Being lucky enough to live on the East Coast, I’m never more than a few hours drive from cities like New York, Boston, Philadelphia, and Washington DC; so, I often take time to attend rehearsals and performances by high-level artists. One of my joys each year is to travel up I-95 to Providence, Rhode Island to watch rehearsals and performances by Larry Rachleff and the Rhode Island Philharmonic. Mr. Rachleff has long been an inspiration to me. Each time I have the honor of observing him, I
come away a better musician, teacher, and conductor. Seeing him reminds me of just how lucky I am to do what I do each day. His commitment to and immersion in the music he conducts is a model for us all. I wonder who inspires him? As music educators we spend so much of our day attending to the needs of our students, administrators, and music programs that it’s easy to forget that unless we take care of ourselves both inside and out, we run the risk of burning out. A burned out teacher is of little help to anyone. The good news is that it’s never too late to begin to re-ignite the passion that led us to become musicians and educators. Interestingly, as I wrote these words, I decided to listen again to one of my favorite recordings: Jacqueline du Pre playing Elgar’s Cello Concerto with Sir John Barbirolli and the English Chamber Orchestra. This is one of my “go to” recordings when I need inspiration. Not because this recording is technically “perfect” (whatever that is), but because it does what music is supposed to do. This performance makes me feel alive and helps me think. Jacqueline du Pre infuses deep, soulful understanding and emotional nuances in every note. She epitomized the words of T.S. Eliot: “You are the music while the music lasts.” This should be an inspiration for all of us.
For a long time I believed that tending to your own spiritual needs was selfish. I now know that not only is this wrong, but that I had been depriving myself of something that I truly needed to become a better musician, teacher, and conductor (as well as a calmer and happier person). I have come to believe that spending time reinvigorating the spirit is a truly selfless act because it benefits all with whom I come in contact, be they students, family, colleagues, or administrators. What or who inspires you? Are you still excited each day to have the opportunity to inspire profound change for your students? If not, why not? What can you do to begin to change that situation? (Endnotes) 1 Ponick, F., Keating, A., Pontiff, E. & Wilcox, E. (2003) Professional notes: Help wanted: mentors, Teaching Music, 11(1), 24-29. 2 Joseph, D. (2011) Early career, teaching: Learning to be a teacher and staying in the job. Australian Journal of Teacher Education, 36(9), http://ro.ecu.edu.au/cgi/viewcontent. cgi?article=1589&context=ajte
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Listen And Learn: The Key To Effective Secondary General Music Instruction
by George Ober & Joe Pergola William Floyd School District, Eastern Long Island email@example.com
eaching secondary general music can be one of the most challenging and one of the most rewarding courses for music teachers. The multitude of requests for guidance regarding curriculum and learning goals can be seen on many of the social media teacher sites. There is no question that secondary general music instruction instills significant discomfort in teachers who are assigned a full schedule or just a single section. So the question is why do we as music educators feel insecure when asked to teach general music? There are many reasons why this insecurity exists. Maybe it’s all the preparation necessary to teach a music course to predominately non-performing music students! Maybe it’s the lack of a unified sequential curriculum! Maybe it’s a question of which materials will be useful! Maybe it’s the fear of disciplinary issues due to a lack of confidence in the lessons being taught! Whatever the reason, music educators desperately need resources and a research based curriculum designed specifically for today’s secondary general music student. We must start by asking ourselves the following question: “What is the purpose of secondary general music; what are the essential skills and knowledge that all students should learn; is the goal to have students perform on instruments such as recorder, guitar, percussion and electronic keyboard; is the goal for all students to know how to read and write traditional musical notation; is the goal to understand music history?” Since the vast majority of students required to take secondary general music are not members of a school performing group, the most important goal is to develop students’ “listening skills”. In a world where MTV and VH1 have led the way in replacing aural acuity with visual imagery, the need to increase our students ability to better appreciate music by developing the listening skills necessary to perceive the expressive qualities inherent in various musical styles is paramount. This can be accomplished by having students understand the basic elements of music. The development of independent listening skills for each basic element provides the building blocks for the ability to hear, describe and identify the qualities inherent in music of varying style. We must help all of our stu-
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dents cultivate the skills needed to demonstrate an aesthetic response to music. Initially, the basic elements of music should be described and discussed in non-technical terms, supported by various learning activities involving description, creation and performance all in conjunction with appropriate listening examples. Gradually, connections to proper terminology and musical symbols should be used to describe, analyze and assess listening examples. True knowledge of the basic elements of music is exemplified by aural recognition and oral description. In other words, students must be able to recognize each element in isolation and in relationship to other elements present in the music. Students must be able to describe the function served by each element and how it is connected to the style being performed. Each individual teacher must choose the best material suited for the level and age of their students. All styles of music should be employed; classical, jazz, rock etc. Emphasis should be placed on current popular styles because success in introducing students to new musical concepts is considerably easier when the student is dealing with familiar music. Plus, when students see that â&#x20AC;&#x153;their musicâ&#x20AC;? is accepted by the teacher, they are more receptive to listening and learning about other styles of music. Secondary general music teachers must stay open-minded and up to date with the ever changing styles of popular music. It is time for all secondary general music teachers to employ the skills and techniques necessary to create a stimulating and effective secondary general music program in all our schools. George Ober is a recognized leader in the area of Music Education. He is an accomplished jazz guitarist who has taught General Music and served as Chairman of Fine Arts for the William Floyd School District. Ober has presented numerous workshop clinics on classroom music and technology. He served as an advisor on the implementation of the Music in Our Lives curriculum for the New York State Education Department. Mr. Ober has presented clinics at MENC, NYSSMA, NYSBDA and SCMEA conferences. He has also authored many published texts on music education. Joe Pergola is the retired Director of Fine Arts from the William Floyd School District on Eastern Long Island, New York. A graduate of the New York College of Music, he received his undergraduate degree and teacher certification from Dowling College, a Masters Degree from SUNY Stony Brook and his Administrative Degree from C.W. Post University. During his tenure at William Floyd, he taught elementary, middle school and high school band. His performance ensembles received the highest rating at New York State Ensemble Adjudication for 21 consecutive years. After being named Director of Fine Arts, the William Floyd Music Department was named a MENC Model Music Program. The New York State Theater Association and the National Theater Association also named Pergola, Admin-
istrator of Year. He serves as a member of the New York State Council of School Music Administrators and a member of the Advisory Board of the New York State Band Directors Association. Joe is a published author with four (4) books to his credit and serves as a frequent clinician at MENC Conferences throughout the United States. He currently works for the National Education Service Company as Director of Education and Arts Dvelopment and is a member of the adjunct faculty at C.W.Post / Long Island University.
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New Jersey Young Composers Competition Finals by Andrew Lesser NJ-YCC Committee Member Burlington City Public Schools firstname.lastname@example.org
n February 22, 2014, the finals of the 6th Annual New Jersey Young Composers Competition (NJYCC) were held during the NJMEA Conference at the Hilton Hotel and Towers in New Brunswick, NJ. Over twenty students from middle and high schools throughout the state submitted solo, chamber, and large scale works in various instrumentations and styles. The submissions were judged by the NJ-YCC Committee, which include: Robert Frampton, Patrick Burns, Andrew Lesser, Jeff Bradbury, Douglass Lausten, and John Peccarelli. Four finalists were selected from both the middle school and high school division: Rishubh Thaper (J.P. Case Middle School), Webster Gadbois (Princeton High School); Matthew Wang (Glen Rock High School); and Kevin Gunia (East Brunswick High School). The participants were interviewed and critiqued by committee member Patrick Burns (Montclair State University). The overall competition winner was Webster Gadbois for “Invictus”. “It’s really great that people can get together and talk about good music”, Gadbois mentioned in a postsession interview. Robert Frampton, NJ-YCC Committee Chair, announced that “New Jersey is one of the leaders in the student composition movement” and that over the six years of its existence, the Young Composers Competition has received over seventy-five submissions from students all over the state. The audio of the finalists’ pieces are posted on the NJMEA website, in addition to submission instructions and contact information for the 2014-15 competition. For more information about the competition, or if you would like to become a committee member, please contact Robert Frampton at rtframpton.comcast.net
NJMEA Young Composers Composition Competition Finalists (L to R) Webster Gadbois (Grand Prize Winner), Princeton High School, Matt Wang, Glen Rock High School, Rishubh Thaper, J.P. Case Middle School, Kevin Gunia, East Brunswick High School, Patrick Burns, Montclair State University.
Need information about your membership? Contact NAfME Member Services at 1-800-336-3768 or MemberServices@nafme2.org.
www.nafme.org Music Education • Orchestrating Success
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A Little Known Fiddle Style by Elizabeth Kane Bridgewater-Raritan School District EKane@brrsd.k12.nj.us
or many directors, this is the time to scout repertoire and ers, successful battles, and Métis locations of notoriety. They also analyze lesson plans for the next fall season. If you feel can be named for family members and close friends, a tradition that like you might want a stylistic change up, a topic that expresses the importance of kinship ties to the Métis people. is highly adaptable to cross curricular involvement and offers opMost Scots-Irish tunes and American fiddle tunes follow a portunities for differentiation, you might consider adding the little standard 32 bar form. This form has two parts: AABB. Each part known Canadian fiddle style of the Métis to your program, a style is comprised of two repeated phrases. Each phrase consists of 16 that combines European fiddle works with musical elements of the beats, divided into 4 even divisions of 4 beats per sub phrase. (4+4, Algonquin nation including the Cree, Blackfoot and Blood tribes. 4+4) + (4+4, 4+4). Métis fiddle music does not work out this evenI have been studying the Métis of Canada for the past three ly. Sometimes, it is easiest to understand that the music always has years, and was fortunate to complete field work on the topic in Sasa pulse, but not necessarily a meter; therefore, it might be best to katoon, Saskatchewan. Here I was able to work with John Arcand, a think of music in similar terms as African drumming, where one master fiddler of Métis music. I hope to share with you some of the can hear steady patterns and motion without the presence of natural lessons I learned working with this master, so you and your students may reap the benefits of cross cultural exploration in an orchestral setting. The Métis are a Canadian aboriginal group with highest populations in the Prairie Provinces. They are descendents of European fur-traders and women of the Algonquian Nation, between the years of 1600 and for Music Educators Villanova, PA in association with 1750. Most of the European men were from June 29 - August 1, 2014 Scotland, (specifically the Orkney Islands), France and England. Most of the women were from the Cree, Blackfoot, Blood and Salteaux tribes. In order to fully understand the Métis fiddle tradition, it is important to understand that it is the product of an ever Notation using Sibelius changing and complex fusion of many cultures over the course of four centuries. GarageBand Does It All Métis tunes are foremost dances, some The i’s Have It: iPhoto, iTunes, and iMovie of which come from the European tradition Unlocking Music Creativity with Technology and some that come from the First Nations Integrating the iPad into the Music Education Curriculum tradition. In most Métis performances a foot stomping technique is implemented by Digital Recording and Sound Systems for the Music Educator stomping the heel and toe in alternation to form a ducka dum percussion which is remiOur low tuition includes all fees and graduate credits. Matriculation is not required. Villanova niscent of Cree drumming. When the works is located in suburban Philadelphia and is convenient to all transportation. Affordable housing are performed with dancers, the dance is and meals are available on campus. To learn more about these courses and 29 others visit presented as a soft shoe moccasin dance with music.villanova.edu or contact the director George Pinchock at email@example.com low quick steps. Other dances include jigs, reels and waltzes, most of which have French Celebrating 25 Years providing Music Educators Solutions and Scottish roots. Many tunes are named for or on the subject of famous Métis lead-
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metrical emphasis and clearly heard uneven phrasing. It is similar to the 32 bar form in that we do hear two distinct repeated phrases often in a pitch pattern of (high+high) + (low +low); each phrase often presented in a varied length. Before sharing this information with your class, try listening to a few recordings of the same tune with the following transcription in front of you. The transcription is written in a way that will organize the music into a more westernized view making it easy to identify when the “rules” of what you are looking at are “broken”, revealing some of the stylistic and metrical differences between European and Canadian styles. I suggest downloading recordings of “Red River Jig”. Many versions also exist for free on youtube.com. Check out fiddlers like Andy DeJarlis, Sierra Noble, John Arcand, Homer Poitras, Richard Callihoo, and Gilbert Anderson. Free online resources exist to help you understand and teach Métis cultural elements and history, which will help you cover more of the content standards in your classroom and more importantly legitimize the music to your students. Check out websites like https://gdins.org/ a website constructed by the Gabriel Dumont Institute. For younger students, www.resources. educ.queensu.ca/moose_trails_buffalo_tracks/ provides a great free resource for students in grades 5-8 and is maintained by Queens University of Canada. Give the aural tradition a try. Learning in an aural transmission method raises a child’s awareness of details, can improve bowing and intonation and build confidence in students who may otherwise feel limited by notation. This is the authentic method of transmission and offers students an opportunity to think about the instrument in a different way, and challenges them to commit an instrumental work to memory. In this day and age we can accomplish this task by recording ourselves playing small sections of a work and posting it to your website. Then, update the sound samples frequently to lengthen and speed up the sections. Students love to incorporate their computers into practice, and many feel empowered when they play for each other with no music. If you wish to add in the percussive foot stomping, I found it more productive to allow a small group of students to drum the repetitive figure on classroom drums. Most students could not accomplish playing and stomping at the same time. If you have a larger orchestra, the drums might be required over foot stomping to hear MAY 2014
the effect at all. I performed this work in unison, as is traditional. Some recordings use a piano or guitar accompaniment, but it is exactly that: accompaniment, which never over powers or completely harmonizes the melody. The text, Drops of Brandy, published by the Gabriel Dumont Institute, offers user friendly transcriptions of over 100 tunes with suggested chords. This book is the best resource I found concerning transcribed repertoire with high accuracy. Hopefully this information will catch your interest to try something that is so old and yet so new. Give it a go, and experience with your students this gem of fiddle repertoire that offers such great opportunities in public orchestral classrooms.
& 51 TEMPO
Guitars, Mandolins & So Much More By Thomas Amoriello Flemington Raritan School District firstname.lastname@example.org
first became involved with the NJMEA for the purposes of sharing my knowledge with other music educators who possess limited skills in guitar education. To my benefit, the reality has been my consistent gaining of ideas from what others in this organization have accomplished, by way of correspondence from articles and shared experiences during my workshops. Today in this TEMPO Magazine guitar advocacy column, we will visit the
tended school day (8:00-4:10), career focus, immersion in technology, and full-year internships for all students. I founded the music program when the school was in its infancy 20 years ago with only 160 students. We now have 1182 students. Music fits into the framework in many ways. While the students have demanding academic schedules, music is offered to every person regardless of program or grade. My responsibilities include all instrumental music- from orchestra to band, ensembles, musicianship, senior music seminar and the entire guitar program. My most important role is to offer music experiences that reinforce the fact that music is a part of people’s lives in many different ways. The lessons we learn through music also transfer to the boardroom, medical department, and on the athletic field.
classroom of Michael Lemma and a few of his students from Bergen County Technical Schools in Hackensack, NJ. In recent years ranked #26 in the nation by Newsweek, this Blue Ribbon School offers seven specialized programs in the areas of mathematics and science, engineering and design, medical science, business and finance, culinary arts and hospitality administration, technology, computer science and visual & performing arts. Though we have many talented arts educators in New Jersey, the music program directed by Lemma may be one of the most unique in our state and possibly elsewhere. An educator of many distinctions, Lemma “strongly believes in the value of music education and has dedicated his professional life to benefit others through meaningful music experiences and activities.” In addition to being an active musician who has performed in numerous venues on guitar, mandolin and bass, he also presents clinics for other educators and has volunteered for various projects, all to the benefit of his students as well as others across the state. He earned a Master of Arts degree in Music from Columbia University and a Bachelor of Music degree in Music Education from Keene State College (NH). As readers of TEMPO, we are fortunate that Michael has shared his story about his work at BCA, and I hope his responses will enhance your teaching as they have mine.
“Mike’s friendly demeanor is a joy to watch as he leads his students through each musical score. His interactions with his students are always upbeat and friendly and even when students are struggling with a difficult passage he leads them through it with encouragement and a smile. He is a joy to work with and constantly sets a positive mood for our entire school community.” Principal Russell Davis Bergen County Academy
Please tell us about the overall Bergen County Academies Music Department. What kind of school is BCA and how does music fit into that framework? Bergen County Academies is a public, magnet high school. The school marries progressive educational initiatives with traditional vocational ideals. So, one will find a project-based curriculum, ex-
What obstacles did you face when you were first hired to start the program? When I started in 1996 there were no resources: no music stands, instruments, or music library. There was just a small group of kids in a science program who loved music and needed some guidance to get things going. We all looked at each other with enthusiasm and a bit of naiveté. My approach was to assess the interests and abilities of the students and match it to what quality music educators have always accomplished; and from that experience grew our program. There’s no telling what students will be coming in as 9th graders. So, directing a well-balanced ensemble has always been a
What would you like to say to the non-guitarist music educator that is about to or interested in starting a guitar program?
challenge. Most school districts have a seamless instrumental program from elementary through high school. Since, our school chooses students based on their interest and academic merits, there are always challenges in seating a full or balanced ensemble since we have no feeder program. However, I’ve gotten pretty good at adjusting for balance and making wise decisions on literature that offers quality music but addresses the current balance of the ensemble.
I would suggest creating a fun atmosphere where something is accomplished each session. That the course is something new for everyone (all of us) and that we are all in it together, but it will be a fun and rewarding experience…. and keep one step ahead of the class.
What kind of classes related to the guitar/mandolin do you teach?
Do you have any success stories you would like to share about students (musical & non-musical)?
We have three different courses: • Group guitar classes. Starting from the very beginning, students learn all the basics of reading notation, tab, chords, ensemble skills and style. The group guitar classes are broken down into Guitar 1 and Guitar 2. I know when I’ve done my job when students can “figure out” how to perform something on their own. • Our Guitar & Mandolin Orchestra comprises mandolins, mandolas, mandocellos, guitars and bass guitars. Similar to a string orchestra, the 25-member orchestra is conducted and presents varied literature. The orchestra runs all year and is an elective that meets during the school day! • We also have a Musicians Workshop course. This course also runs all year and each trimester offers a different project. One of the more popular projects is building guitars, both acoustic and electric. The materials are sourced out or kits. Students complete all the tasks of building an instrument, right down to custom finishes. We have also built ukuleles, mandolins, and drums. Last trimester the students refurbished an antique Neapolitan mandolin, rewired an electric guitar and fixed an instrument that had its bridge ripped off. We are now building drums. Using wooden slats, students glue shells, sand it to make it round, finish the instrument and stretch on a natural skin head. A recent development in the music program has been electronics and music. We have started building mini amplifiers and electronic effects. These projects get to the heart of modern music making by employing ICs, circuit boards (PCB), soldering and interpreting electronic schematics. Current projects include a theremin, mini amplifier and a fuzz-tone stomp box. In addition to the school program, I offer workshops for the mandolin. Since the mandolin is tuned similar to the violin, it is not surprising that a violinist can make the transition in minutes! Even the up/down bow strokes are similar to plucking, and the same symbols are used. Finally, I offer a 2-week guitar building course during the summer for middle school students.
Whether a student was accepted to a competitive conservatory or the school orchestra performed at a renowned festival, I feel that the experiences they gained through participating in music gave them confidence and tools to be successful, and opened new doors. For me, the real success stories are when students go on to become adults who support and appreciate music in their communities because of what all of us teachers do for them in our programs. I understand how difficult it is for people today to continue the band/orchestra/choir experience as adults. The guitar is one of the few instruments people can accompany themselves while remaining both portable and accessible. What do you tell your talented students who are planning to pursue music or guitar studies in college after they finish with you? I usually listen to their goals and ideas when we start that discussion. I then remind them to go with their gut feeling when making college or career choices. I do let them know about the challenges of being a musician today and temper it with the joy of doing something you love! The most important thought is that as long as they continue their education, they are already making the first and best step forward. “Lemma has a warm and friendly personality which resonates with his students and in turn our entire school community. He teaches a wide variety of classes including core classes for our Academy for Visual & Performing Arts students as well as electives which are available to our entire student body. Some of his electives include Jazz Band, Orchestra, String Ensemble, Guitar & Mandolin Orchestra, and Pit orchestra, which supports our school musicals. Lemma’s room is a welcome place for students to stop by throughout the day and share in their love of music. As a musician myself, I enjoy stopping by and connecting with students through the language of music.” Principal Russell Davis continued on next page
Do you have any networking or advocacy tools that have worked for you promoting your program that would help other educators? One resource for educators is the New Jersey Guitar & Mandolin Society. As the director on a volunteer basis, I can vouch that we have helped local teachers start guitar programs and welcome you to contact us for advice in starting a program. All advice is free, and the guest artist sessions are always free to students. www.bergen.org/njgms. Conferences, articles in professional journals and networking have been good resources. Also, simply speaking with my fellow colleagues who teach music in other districts has always been enlightening. I’m very proud to associate myself with fellow music educators. What type of arrangements and/or transcribing have you done?
For our orchestra I arrange parts for guitar so they are not simply strumming chords. So, the guitar may be doubling a part similar to a cello, for example, but I would need to transpose the part up an octave, change it to treble clef and take in a few considerations for range. However, there are tons of viable sheet music, at all levels, for guitar ensembles. What kind of future do you see for guitar programs in our New Jersey school system? I see that the acceptance of the instrument as a part of the music program is both necessary and growing. The guitar is one of the most popular instruments, so why not enhance our programs by including the instrument? As long as districts are willing to provide the time and resources, I feel we can reach out to even more students and build stronger programs with a larger support base!
Coda In conclusion, I requested feedback from students enrolled in the classes that Lemme teaches at BCA, and their responses are most appreciated in adding value to this feature. What do I like about Guitar and Mandolin Orchestra? The fact that it’s a group effort and individual effort at the same time. This is only my first trimester doing Guitar and Mandolin Orchestra, but I already feel a part of something amazing. I’ve known for my two years here that Lemma and his group of musicians are outstanding, and I’ve always wanted to learn guitar. So 1 and 1 came together and I eventually took Guitar 1. It was tough getting started, but after a few classes, I became comfortable with the assignments and Lemma. I wanted to take Guitar 2, but Lemma recommended me to take Guitar and Mandolin Orchestra. So I did, and I realize now that this is a great experience. I do have trouble sight-reading, but as I practice I get better. Practicing a whole piece with an orchestra is a first-time experience, and even though it gets tough at time, I always enjoy learning guitar with Lemma. Aayush P. Class of 2015 What do I like about being in Musician’s Workshop? Upon entering BCA, I immediately began teaching myself to play the ukulele. It so happened that the ukulele I was learning on was built by two friends of mine in the grade above. Upon being introduced to the possibility of building instruments, I immediately fell in love with the class and with my project. For the past few months, I’ve been refurbishing a fretless electric guitar. I’ve taken many steps throughout my journey to finishing, including filing down the remaining frets, polishing the body, and rewiring the electrics. I hope to have a fully finished instrument by the end of this school year. I love BCA, and at any other high school, I would never have the opportunity to build an instrument. Every step I take in the class makes me feel accomplished, and each small victory will lead to an even more rewarding final product.
What do I like about being in Guitar class? In Guitar class, I enjoy the friendly environment that Lemma creates, in which no member of the class is uncomfortable or self-conscious. Everyone is able to explore the instrument while learning the fundamentals in order to make each piece their own. I’ve learned so much not only about the guitar, but about music theory and performance, in this class that I would never learn anywhere else. Jessica C. Class of 2016 What do I like about Guitar and Mandolin Orchestra? What I like about being in the BCA Guitar and Mandolin Orchestra is that I get the opportunity to learn pieces and techniques that I would not be able to in individual study. The pieces we practice come from different regions of the world and different times in history, and they are truly beautiful. Some of the pieces can be very challenging, and I need to spend time learning the techniques that bring out the beauty of these pieces. By being in the Guitar and Mandolin Orchestra, I’ve become not only a better guitar player, but also a more educated person who appreciates the history and techniques behind music. Lauren B. Class of 2015 Thomas Amoriello is currently teaching General Music/Guitar Class at Reading Fleming Intermediate School in Hunterdon County. He is a graduate of Rowan University and Shenandoah Conservatory and has presented guitar workshops for various music organizations including the NAfME, NJMEA, Guitar Foundation of America and Philadelphia Classical Guitar Society. You can learn more about Tom by visiting www.tomamoriello.com
Jessica C. Class of 2016
Attention All Retired Music Educators: Would You Like To Become A Mentor? By Christine Plonski Sezer NJRMEA Past-President email@example.com
bout 3 years ago the retired music educators began a Mentoring Program. You may or may not be familiar with this program. In any case the reasoning for the program was that there are a great number of retired music educators out there with many years of experience, knowledge and expertise in various areas that could be shared with many teachers, especially those who are just beginning their first years of teaching. They often experence many problems in facing new situations; need advice, help; do not know
how to do certain things they perhaps did not learn in college; they are not sure who to ask or are apprehensive to ask anyone or their supervisor for whatever reason. Even a veteran educator can have a situation that could arise and advice or help may be very welcome from someone with years of experience and expertise. As a result the retired music educators were invited to become mentors, in various categories; the music educators may become a contact by phone and email. The name/phone/email is listed on our website
in TEMPO under the category of expertise which may be more than one. The website is updated as music educators add their names to the website as mentors in the various categories. Someone would be able to call or email the mentor for advice or with a question, the mentor would respond. The categories are listed below. If you would like to be listed as a mentor in any of the catergories, please contact me drcsezer@gmail. com.
MENTORING CATEGORIES • Vocal/General Music Early Childhood-Pre-K
• Directing A Talent Show
• Middle School Vocal/General Grades 6-8(9)
• Elementary Vocal/General Music Grades 1-5
• Elementary Strings- 3-5
• High School Choral Grades (9)10-12
• High School Strings (9)10-12
• Middle School/Jr. High Strings Grades 6-8(9)
• Music Technology -All Grades
• Curriculum/Assessment )According To NJ State Guidelines)
• Instrumental/Vocal Jazz
• Community Performing Groups Choral/Instrumental
• Church Choirs Children/Youth/Adult
• Traveling With Groups Abroad Choral/Instrumental
• Preparing For Festival Competition Choral/Instrumental
• Preparing For Job Interview
• Transitioning From One Position To Another (Choral To Band; HS To Jr. High; Elementary To Jr. High Or High School; Etc.
• Fundraising For Your Group
• Directing A Musical
• Directing A Show Choir • Getting Involved With Tri-M • Writing Grants
Online Professional Development!
Got music education questions? Want some expert advice?
NAfME offers this exciting free benefit to members throughout the school year. NAfME members visiting the band, orchestra, chorus, jazz, inovations, guitar, composition, Collegiate and general music networks can get expert advice in answer to their questions.
Visit the forums at www.nafme.org MAY 2014
What Is The Band Sound Of The Future? By William L. Berz Rutgers: The State University of New Jersey firstname.lastname@example.org
or the October 2012 issue of TEMPO, I wrote an article describing what I observed to be an evolution in what was being perceived as a characteristic band sound. Very briefly, I held that the most common tone quality for top-level wind bands, especially for the best university and military ensembles, is much more orchestral in nature than what it was in the past. However many middle and high school bands adhere to the more homogenized sound; this is especially true for those groups who compete at concert festivals and contests. This has been a more traditional approach and produces a more flattering sound especially for those groups whose individual players might not be uniformly and consistently strong. Some of the best models for this kind of approach were the bands from the “Big Ten” schools of the 1950s-1980s. Famous conductors such as William D. Revelli, Harry Begian, John Paynter, Donald McGinnis, and Leonard Falcone come to mind. The symphonic bands conducted by these masters were like gigantic pipe organs with rich bass and controlled treble sounds. The notion of band tone quality began to change in the 1950s with the founding of the “Eastman Wind Ensemble.” The concept was started by Frederick Fennell and was carried forth by a number of important collegiate conductors, most notably Frank Battisti, Donald Hunsberger, and H. Robert Reynolds. This newly constituted group imitated the wind and percussion sections of the orchestra to a certain degree. Individual players were encouraged to play
out like they might in an orchestra. In addition, these ensembles were significantly smaller than the large symphonic bands of the Midwest. Obviously, the wind ensemble had a far different sound than a symphonic band, and is probably the most dominant approach in the best collegiate wind groups. This was the main point in my 2012 article. A New Approach? Recently, I have begun to wonder if a new approach to band sound is evolving, especially in school bands. I recently attended a high school band festival in northern Michigan. I heard four bands; each was quite well prepared and presented a good performance. However, in the four groups there was a total of 3 French horns—all in one of the bands; three groups did not have any. I only saw a few double reeds. Earlier in the year, I conducted an honor band in a state outside of New Jersey. The students in the band were very good and highly motivated to play well. While there were some horns, trombones, and tubas, the saxophones dominated those middle and lower ranges. There were a large number of altos along with 5 tenors and even more dominant, 5 baritone saxophones! My two experiences are not isolated, and I have become gradually more aware of this phenomenon for at least 20 years. Because of the huge number of very practical problems facing music educators today, instrumentation has become an enormous challenge. One issue is that popular culture has moved to a different place from what existed in the professional concert bands of the early 20th century and the big band era of
the middle 20th century. Much of today’s popular music does not feature instruments aside from drums, keyboards, guitars, and basses. Therefore it is only logical that many of the instruments of the band and orchestra might not be as popular as in the past. Many young students might not want to invest the time and energy to learn the skills required to play many of the traditional instruments. In addition, a wider range of repertoire is covered in many elementary and secondary schools, including world music, popular, and entertainment music. Instrumentation may be far less important when playing these forms of music rather than literature from the Western European canon. The instrumentation crisis is also fueled in part by the emphasis on competitive marching bands. Understandably, brass and percussion players are most valuable for marching bands. These bands have a decidedly different concept of balance and blend. Horns, bassoons, oboes, and euphoniums are not normally featured. Who’s at Fault? Many people simply criticize bands that do not have a traditional instrumentation. This might be partially fair; most band music is conceived to be played by a certain combination of instruments, in other words, a traditional instrumentation. Works by composers such as Vincent Persichetti, William Schuman, Howard Hanson, and Morton Gould certainly fall into this category. A decidedly different point of view is that bands might not be the same as they once were. More so than the orchestra, the MAY 2014
nature of bands has been shaped by the surrounding culture; the instrumentation of bands has changed many times before. Wind bands in Europe during the Classical era were often quite small—often eight players or fewer. Bands dramatically increased in size during the French Revolution. American bands of the Civil War were almost always brass bands, sometimes with one or two woodwinds. The “Gilmore Band” of the late 19th century included more woodwinds. John Philip Sousa with his band followed this model. The instrumentation of his first professional band in 1892 was comprised of 2 flutes, 2 oboes, 2 E-flat clarinets, 14 B-flat clarinets, 1 alto clarinet, 1 bass clarinet, 2 bassoons, 3 saxophones, 4 cornets, 2 trumpets, 4 horns, 3 trombones, 2 euphoniums, 4 basses, and 3 percussionists. Except for the clarinets and the basses, the instrumentation is quite similar to the modern notion of a wind ensemble. A decidedly different approach was taken at the turn of the 20th century as the professional concert band began its decline. A. A. Harding, the famous director of bands at the University of Illinois, expanded the size of the band and experimented by including such instruments as the basset horn, saxonet, families of sarrusophones and antoniophones, A-flat flute, mussette, ophicleide, and others. It was Harding’s ideas that helped to shape the large symphonic band made so famous at the great Midwestern universities. As stated above, Frederick Fennell began the return to the smaller band. His “Eastman Wind Ensemble” was widely emulated by high school and collegiate conductors alike. Most collegiate ensembles now follow the ideas that were championed by Fennell although with more flexibility. A New Era? Band instrumentation seems to be changing again and the leading publishers seem to be accounting for it. For example much of the band music written for school bands now, especially the works composed by composers associated with the large publishers, is conceived in a SATB fashion. The result is that horns might not be required at all; alto saxophones can play the alto line. MAY 2014
Any combination of tenor saxophones, trombones, and euphoniums can cover the tenor line. Multiple baritone saxophones can handle the bass part. There might be multiple parts for soprano instruments since flutes, clarinets, and trumpets still seem to be attractive to some young students; they are many times less expensive than others. It is a generic approach to scoring, choral-like in a way. Each line can be covered by a group of whatever instruments are available. The band will have an attractive sound somewhat regardless of instrumentation. One caution is that this newer notion of the band might not be able to authentically play much of the music that was composed in the past. Most of the artistically vibrant works composed for the medium assumed that there was a relatively fixed instrumentation. These works would not be able to be accurately reproduced by the SATB band. Another significant loss would be that of the variety of instrumental color because many of the primary color instruments would not be available.
and university music departments is to train future music educators. It is those kinds of schools that will be most affected by the instrumentation that is found in high schools. Gradually these bands will reflect the new notion of band instrumentation; many already have. The “new” band might well not be a bad thing. As implied above, music education is facing many challenges and will need to adapt. Perhaps it is no longer possible or practical to offer the 20th century-band in secondary schools. While my crystal ball may be foggy, I see that school bands are entering a new era, at least in terms of instrumentation.
Coda As written earlier, this changing view of instrumentation has been happening for quite sometime, and many “band authorities” have been expressing concern about it. On the other hand, it does seem clear that a great many bandleaders, festival and contest judges, and other band aficionados accept non-traditional instrumentations realizing that instrumental shortcomings are expected and the bands are playing the music in the best way possible. That was certainly the case at the band festival held in northern Michigan; all of the groups received high ratings. I have observed this at many other festivals as well. What has dawned on me recently is that bands of the later half of the 20th century might be slowly heading to an end. Wind ensembles at the great music schools like Eastman, New England Conservatory, and the University of Michigan to name just a few will maintain traditionally instrumented bands for many years to come; oboists, bassoonists, and horn players will continue to study at those kinds of institutions. However the mission of many college
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NJMEA 2014 Awards by William McDevitt NJMEA President-Elect 856-794-6800 x2539 firstname.lastname@example.org
t the NJMEA conference luncheon on February 21, 2014 three outstanding school administrators were recognized for their support and commitment to music education. All of these educators have made a dramatic impact in their school communities. By using their skills and talents as administrators they have made a difference by stressing and advocating the importance of music education in their schools.
Jack Hurley, Principal Rutherford High School, Rutherford (pictured Bill McDevitt, Jack Hurley, Joe Jacobs, Keith Hodgson)
Piera Gravenor, Superintendent Delsea Regional School District, Franklinville (pictured Bill McDevitt, Piera Gravenor, Joe Jacobs, Keith Hodgson)
Jack Hurley has been the Principal of Rutherford High School in Rutherford, NJ for the last 12 years. He began his career in education in 1977 as an English Teacher. He was nominated for this award by Jonathan Kinne. Kinne wrote, “When I was hired as the Band Director here at Rutherford High School six years ago, Jack Hurley asked me what it would take for me to take our instrumental music program to the next level… he confidently pledged to support my initiatives.”
Piera Gravenor has been the Superintendent of the Delsea Regional School District in Franklinville, NJ for the past three years. Prior to being named Superintendent, she was the Principal of Delsea Regional High School (six years) and a Supervisor of Instruction (five years) in the district. She was in the classroom for 12 years prior to moving to administration. Under her leadership the Delsea Regional School District was named a 2013 NAMM Best Community for Music Education. She supports teacher driven professional development initiatives within the Arts disciplines. She recently increased funding to purchase $30,000 in new instruments and $15,000 in technology for the Music Department. Piera Gravenor was nominated by Scott McCarron, Vincent DuBeau, and Felicia Seigel.
Colleagues Accepting The Award For Patricia Lee Marshall Lower School Head-Associate Head of School Ranney School, Tinton Falls Patricia Lee Marshall has been Lower School Head – Associate Head of School at the Ranney School in Tinton Falls, NJ
for the last 14 years. Her nominator Tess Neilsen wrote, “If I can convey one point about our music program I would impress upon the committee how much the program has changed for the better under Patti’s guidance. The faculty, facilities, and course offerings have been completely transformed. Every time Patti wants to implement an arts program, she must make a case to the school board and stakeholders about cost effectiveness, long-term benefits, and if the investment in non-core programming is worthwhile.” The school board has chosen to invest in the arts because she has helped them to make informed and intelligent decisions.
he 2014 NJMEA Distinguished Service Award was presented to 6 outstanding music educators. This award recognizes our colleagues who have honored themselves with faithful service to music education in New Jersey. These ladies and gentlemen are excellent role models and are certainly a credit to our profession.
Mindy Scheierman Band Director Millburn High School Mindy Scheierman is Director of Bands at Millburn High School where she conducts the wind ensemble, symphonic bands, and the jazz stage band. She coaches woodwind ensembles for the accelerated chamber music program and is an adjunct professor of music at William Paterson University. She has conducted honor bands in all three regions of the state, and is a past manager and rehearsal conductor for the NJ All-State Bands. Mindy has also been a Region I & II Representative to the NJ All-State Band Procedures Committee.
Charles A. Williams Band Director Cherry Hill High School, Retired Charles A. Williams was Band Director in Washington Twp., West Deptford, and Cherry Hill for 26 years before retiring in 1992. He attended the University of Miami, auditioned for the US Marine Band in Washington, DC, then auditioned for and was accepted to the West Point Band. He earned a Masters Degree in Performance and Conducting from Glassboro State College. He is a former President of the South Jersey Band and Orchestra Directors Association.
Robert D. Morgan has been the Band Director at Clifton High School for 42 years. He earned a BME from the University of Iowa. He is the director of the Clifton Community Band and has conducted Region Honor Bands. He currently serves on the committee for the North Jersey Band Festival.
Lou Kosma Band Director Bellville High School, Retired Lou Kosma received a degree in Music Education and Double Bass from Temple University. He has taught in the School District of Philadelphia and in Belleville, NJ. For 14 years, he was the musical director at Holy Family Academy in Bayonne, NJ. He is a member of the Metropolitan Opera Orchestra and teachers privately. He was an adjunct instructor at NJ City University for 29 years. He has been a conductor of honor orchestras in all three regions in the state and the NJ All-State Orchestra.
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Laurie Wellman Choral Director Scotch Plains-Fanwood High School, Retired
Jeffrey Lesser Music Supervisor East Brunswick High School
Laurie Wellman was the Choral Director at Scotch Plains-Fanwood High School for 27 years before retiring. She received her BA in Music Education from Hartwick College. She was a member of the NJ All-State Choral Procedures Committee from 1997 to 2006 and Chair of the Committee form 2003 – 2006, and has conducted the Region II Mixed Chorus. She is credited with bringing the NJ All-State Chorus into the computer age in 2003.
Jeffrey Lesser has been a Supervisor in the East Brunswick School District for the past seven years. Prior to this position, he was Band Director and Music Supervisor in Willingboro for 22 years. He has been an officer in the NJ Association for Jazz Education since 1995. He was President of the organization in 1995 when the national association declared bankruptcy. Under his leadership, the NJAJE remained solvent and is one of the national leaders in Jazz Education.
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CALDWELL COLLEGE MUSIC PROFESSIONAL RESIDENT ENSEMBLE • Garden State Opera STUDENT ENSEMBLES • Wind Ensemble • Jazz Ensemble • Choir • Chamber Ensembles • Opera and Music Theatre Workshop BACHELOR OF ARTS DEGREE IN MUSIC CERTIFICATION K-12 MUSIC • Outstanding Liberal Arts Program • Accredited by the Middle States Association • Scholarships for Non-majors and Majors • Professional Concert Series on campus
SCHOLARSHIP & ENTRANCE AUDITIONS For information on scholarships and entrance into the program contact Rebecca Vega at 973-618-3446 or Rvega@caldwell.edu UPCOMING EVENTS FREE STUDENT CONCERTS • Jazz & Percussion Concert – 8:00 PM Thursday, May 1 – Student Center Auditorium • Spring Department Concert – 8:00 PM Monday, May 5 – Student Center Auditorium CALDWELL FEST • Saturday, May 3 • Rock Band and Food Festival • TICKET REQUIRED FOR ADMISSION • For information email Rvega@caldwell.edu SUMMER 2014 Summer Intensive Percussion Camp • Middle, High School and College • July 14 – 18, Monday – Friday, 9:00 AM – 4:00 PM
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New Jersey Music Educator’s Association Proudly Announces:
“The 2014 State Marching Band Ratings Festival” “13th Anniversary”
A unique opportunity for your Marching Band to perform in a Festival (rating only) setting. Quality Evaluation! Local Bands! Enthusiastic Audiences! State Sponsored! Non-Competitive! One time commitment!
State Marching Band “Ratings” Festival Saturday, October 18, 2014 , 4:00 pm. Wayne Hills High School
Contact: Matthew J. Paterno 973-317-2060 (firstname.lastname@example.org)
Don’t miss out on this interesting addition to your present Marching Band activities! Only A Few Spots Left!
2014 – 2015 Calendar
Please See Calendar Updates at NJMEA.Org QuickLinks/Calendar of Events DATE
JULY 29 NJMEA Exec. Board Reorganization Mtg., NJMEA Office 9:00 AM 29 NJMEA Full Board Reorganization Mtg., NJMEA Office 12:00 PM
6 All-State Band Procedures Committee Mtg. - AC 9:30 AM 6 All-State Jazz Band & Honors Jazz Choir Concert in AC 6 All-State Jazz Ensemble/Honors Jazz Choir Concert, AC TBA 6 All-State Chorus Procedures Open Meeting 12:00-2:00 PM AUGUST 7 All-State Mixed Chorus & Orchestra-Atlantic City Concert 8:30 PM 5 NJMEA Summer Workshop 7:30-4:00 PM 7 NJMEA Executive Board Meeting, Atlantic City 8:30 AM 14 All-State Jazz Ensemble/Honors Jazz Choir Concert, NJPAC 7:00 PM SEPTEMBER 15 Opera Festival-Paramus HS-Registration 9:00 AM 3:00 PM 2 SJCDA SJCDA Board of Directors Meeting 7:00 PM 15 SJCDA Jr/Sr High Chorus Auditions 8:00 AM 8 NJSMA Executive Board Meeting 6:00 PM 16 All-State Mixed Chorus & Orchestra-NJPAC Concert 3:00 PM 9 NJMEA Executive Board Meeting, NJMEA Office 5:00 PM 16 All-State Orchestra-NJPAC Rehearsal 10:00 AM 12 NJMAA Executive Board Meeting- Rutgers Club 8:30 AM 16 All-State Mixed Chorus-NJPAC Rehearsal 10:30 AM 15 SJCDA General Membership Meeting 7:00 PM 27 Thanksgiving 20 All-State Mixed Chorus Rehearsal 8:30-12:00 PM 28 NJMEA Young Composers Competition Application Deadline 20 All-State Women’s Chorus First Rehearsal 8:30-12:00 PM 21 All-State Orchestra-Full Rehearsal 1:00-5:30 PM DECEMBER 21 All-State Orchestra-String Seating Auditions 10:00-12:00 PM 1 NJSMA Executive Board Meeting 6:00 PM 23 All-State Jazz Band & Honors Jazz Choir Rehearsal 4:00-8:00 PM 2 NJMEA Executive Board Meeting, NJMEA Office 5:00 PM 25 Rosh Hashanah 2 NJSMA HS Chorus Festival 29 SJCDA Board of Directors Meeting 7:00 PM 3 NJSMA HS Chorus Festival 4 NJSMA HS Chorus Festival OCTOBER 5 NJMAA General Membership Meeting- Rutgers Club 9:00 AM 3 NJMAA General Membership Meeting- Rutgers Club 9:00 AM 6 SJCDA Jr/Sr High Chorus Rehearsal 1:30-5:30 PM 4 Yom Kippur 13 CJMEA HS Band, Choir & Orchestra Auditions 9:00 AM 6 NJMEA State Marching Band Festival 13 SJBODA Auditions Wind, Brass, Percussion, Strings 9:00 AM 6 NJSMA Executive Board Meeting 6:00 PM 13 SJCDA Jr/Sr High Chorus Rehearsal (Snow Date) 9:00-1:00 PM 8 NJRMEA Board Meeting, Seville Diner 10:15 AM 16 Channukah Begins At Sunset 8 SJBODA Fall Membership Meeting 9:00 AM 20 CJMEA HS Band Rehearsal 9:00-1:00 PM 11 All-State Mixed Chorus Rehearsal 8:30-12:00 PM 20 CJMEA HS Band,/Choir/Orch. Auditions (Snow Date) 9:00 AM 11 All-State Women’s Chorus Rehearsal 8:30-12:00 PM 20 CJMEA HS Orchestra Rehearsal 9:00-1:00 PM 11 NJMEA State Marching Band Festival 20 CJMEA HS Percussion Ensemble Rehearsal 9:00-1:30 PM 12 All-State Orchestra-Full Rehearsal 1:00-5:30 PM 20 SJBODA First Rehearsal (Audition (Snow Date)) 9:00 AM 12 All-State Orchestra-Sectionals (Everyone) 10:00-12:00 PM 25 Christmas 13 NJAJE Executive Board Meeting 5:00 PM 14 NJMEA Executive Board Meeting, NJMEA Office 6:30 PM JANUARY 14 NJMEA Full Board Meeting, NJMEA Office 5:00 PM 3 SJCDA Jr/Sr High Chorus Rehearsal 9:00-1:00 PM 24 Opera Festival Auditions-Paramus HS 4:30-8:30 PM 5 NJSMA Executive Board Meeting 6:00 PM 25 All-State Mixed & Women’s Chorus Rehearsal 8:30-12:00 PM 5 SJCDA Board of Directors Meeting 7:00 PM 27 SJCDA Board of Directors Meeting 7:00 PM 8 SJCDA Jr/Sr High Chorus Rehearsal 9:00-1:30 PM 28 All-State Jazz Band & Honors Jazz Choir Rehearsal 4:00-8:00 PM 9 CJMEA HS Chorus Rehearsal 9:00-4:00 PM 31 NJMAA Executive Board Meeting- Rutgers Club 8:30 AM 9 CJMEA HS Orchestra Rehearsal 8:45-5:00 PM 9 CJMEA HS Percussion Ensemble Rehearsal 5:00-9:00 PM NOVEMBER 9 NJMAA Executive Board Meeting- TBA 8:30 AM 3 NJSMA Executive Board Meeting 6:00 PM 9 SJBODA Sr/Jr. High Orchestra Rehearsal 9:00-5:00 PM 4,5,6 All-State Jazz Ensemble Rehearsals, Atlantic City TBA 10 CJMEA HS Orchestra Rehearsal 8:45-5:00 PM 5,6,7 All-State Mixed Chorus & Orchestra-Atlantic City Rehearsals 10 CJMEA HS Percussion Ensemble Rehearsal 9:00-5:00 PM 4 All-State Jazz Band & Honors Jazz Choir Rehearsal in AC 10 CJMEA Intermediate Chorus Auditions 8:00 AM 4 Honors Jazz Choir Rehearsal 4:00-8:00 PM 10 NJSMA HS Band/Chorus/Orchestra Auditions 5 All-State Jazz Band & Honors Jazz Choir Rehearsal in AC 10 SJBODA Sr/Jr. High Orchestra Rehearsal 9:00-5:00 PM 5 All-State Mixed Chorus Arrives In Atlantic City 5:00 PM 11 CJMEA HS Orchestra & Percussion Ensemble Concert 3:00 PM
DATE 11 11 11 13 13 14 16 16 16 16 17 17 17 17 17 18 18 19 19 21 21 23 23 24 24 25 26 27 28 29 29 29 30 30 31 31 31 31 31
CJMEA HS Percussion Ensem. Reh. (Snow Date) 9:00-1:00 PM NJSMA HS B/C/O Auditions (Snow Date) SJBODA Sr/Jr. High Orchestra Concert 3:00 PM NJMEA Executive Meeting, NJMEA Office 6:30 PM NJMEA Full Board Meeting, NJMEA Office 5:00 PM NJ Elementary & JH Honor Choir Festival-Audition Materials Due CJMEA HS Band Rehearsal 9:00-1:00 PM SJBODA WE & SB Rehearsal 9:00-5:00 PM SJBODA Winter Membership Meeting 10:00 AM SJCDA Jr/Sr High Chorus Rehearsal 5:30-9:30 PM CJMEA HS Band Rehearsal 9:00-4:00 PM CJMEA HS Chorus Rehearsal 9:00-1:00 PM CJMEA Intermediate Chorus Auditions (Snow Date) 8:00 AM SJBODA WE & SB Rehearsal 9:00-5:00 PM SJCDA Jr/Sr High Chorus Rehearsal (Snow Date) 9:00-1:30 PM CJMEA HS Band Concert 3:00 PM SJBODA WE & SB Concert 3:00 PM MLK Jr Day NJAJE Executive Board Breakfast Meeting 8:00 AM NJSMA HS Band Rehearsal 4:00-9:00 PM SJBODA Chamber Ensemble Rehearsal 6:00-8:30 PM CJMEA HS Chorus Rehearsal 4:30-9:30 PM SJCDA Jr/Sr High Chorus Rehearsal 6:00-9:30 PM All-State Band Auditions-JP Stevens HS 9:00 AM NJ Elementary/JH Honor Choirs Festival-Audition day 9:00 AM SJCDA 56th Annual Jr/Sr High Chorus Festival 3:00 PM SJCDA Chorus Festival Concert (Snow Date) 8:00 PM NJSMA HS Band Rehearsal 4:00-9:00 PM NJSMA HS Band Rehearsal (Snow Date) 4:00-9:00 PM All-State Band Rehearsal (Audition Snow Date) 5:00-9:00 PM NJSMA HS Chorus Rehearsal 4:00-9:00 PM NJSMA HS Orchestra Rehearsal (Strings Only) 4:00-9:00 PM CJMEA HS Chorus Rehearsal (Snow Make-up) 4:30-9:30 PM NJSMA HS Band Rehearsal 12:00-6:00 PM CJMEA HS Chorus Rehearsal 9:00-1:00 PM CJMEA Intermediate Band & Orchestra Auditions 9:00 AM CJMEA Intermediate Chorus Rehearsal 9:00-1:00 PM NJSMA HS Band Rehearsal 12:00-6:00 PM SJBODA Junior High Band Auditions 9:00 AM
7 SJBODA Junior High Band Auditions (Snow Date) 9:00 AM 8 All-State Women’s Chorus Rehearsal 1:00-5:00 PM 8 NJSMA Jr. HS B/C/O Auditions (Snow Date) 10 NJSMA HS Chamber Ensembles Rehearsal 4:30-7:30 PM 10 NJSMA HS Chorus Rehearsal 4:00-9:00 PM 10 NJSMA HS Orchestra Rehearsal 4:00-9:00 PM 10 SJBODA Junior High Band Rehearsal 4:00-7:00 PM 11 SJBODA Chamber Ensemble Rehearsal 4:00-7:00 PM 12 NJSMA HS Chamber Ensembles Rehearsal 4:30-7:30 PM 12 NJSMA HS Chorus Rehearsal 9:00-4:00 PM 12 NJSMA HS Orchestra Rehearsal (Snow Date) 4:00-9:00 PM 12 SJBODA Chamber Ensemble Concert 7:30 PM 13 NJSMA HS Orchestra Rehearsal 10:00-4:00 PM 14 CJMEA Intermediate Band Rehearsal (Snow Date) 9:00-1:00 PM 14 NJSMA HS Chorus Rehearsal and Concert 10:00-4:00 PM 14 NJSMA HS Orchestra Rehearsal 8:00-12:00 PM 15 NJSMA HS Orchestra Concert 3:00 PM 17 SJBODA Chamber Ensemble Concert (Snow Date) 7:30 PM 17 SJBODA Junior High Band Rehearsal 4:00-7:00 PM 19-21 All-State Women’s Chorus - E. Brunswick 19-21 NJMEA State Conference 19 All-State Band Rehearsal-Rutgers University 12:00 PM 19 All-State Women’s Chorus Arrives - E. Brunswick 6:00 PM 19 NJAJE Intercollegiate Jazz Band Concert - E. Brunswick 8:30 PM 19 NJMEA Executive Board Meeting, EB Hilton 12:00 PM 19 NJMEA Full Board Dinner, EB Hilton 5:00 PM 19 NJMEA State Convention 20 All-State Band Procedures Committee Mtg. - E. Brunswick 5:45 PM 20 All-State Band Rehearsal-Rutgers University 20 All-State Chorus Procedures Open Meeting 2:00-2:30 PM 20 NJMAA Breakfast-NJMEA Annual Conference 8:30 AM 20 NJRMEA General Meeting, EB Hilton 10:15 AM 20 NJSMA General Meeting, EB Hilton 11:45-12:30 PM 21 All-State Band and Women’s Chorus Concert 3:00 PM 21 All-State Band and Women’s Chorus Concert-NJPAC 3:00 PM 21 NJMEA State Conference 23 NJSMA HS Chamber Ensembles Rehearsal 4:30-7:30 PM 23 NJSMA Jr. HS Orchestra Rehearsal (Strings Only) 4:00-8:00 PM 23 SJCDA Board of Directors Meeting 7:00 PM 24 NJSMA HS Chamber Enss. Rehearsal (Snow Date) 4:30-7:30 PM FEBRUARY 24 NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM 1 CJMEA HS Chorus Concert 3:00 PM 24 SJBODA Junior High Band Rehearsal (Snow Date) 4:00-7:00 PM 1 NJSMA HS Band Concert 3:00 PM 25 NJSMA HS Chamber Ensembles Concert 7:00 PM 2 NJSMA Executive Board Meeting 6:00 PM 25 SJBODA Junior High Band Rehearsal 4:00-7:00 PM 4 NJSMA HS Chorus Rehearsal 4:00-9:00 PM 26 NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM 4 NJSMA HS Orchestra Rehearsal 4:00-9:00 PM 27 CJMEA Intermediate Chorus Rehearsal 5:00-9:00PM 5 All-State Band Rehearsal-South Brunswick HS 5:00-9:00 PM 27 CJMEA Intermediate Orchestra Rehearsal 5:00-9:00PM 5 NJSMA HS Chorus Rehearsal (Snow Date) 4:00-9:00 PM 27 SJBODA Junior High Band Rehearsal 4:00-7:00 PM 5 SJBODA Chamber Ensemble Rehearsal (Snow Date) 4:00-7:00 PM 28 CJMEA Intermediate Chorus Rehearsal (Snow Date) 9:00-1:00 PM 5 SJBODA Junior High Band Rehearsal 6:00-8:30 PM 28 CJMEA Intermediate Orchestra Rehearsal 9:00-1:00 PM 6 NJMAA General Membership Meeting-Rutgers Club 9:00 AM 28 SJBODA Junior High Band Rehearsal 4:00-7:00 PM 7 CJMEA Intermediate Band/Orch. Auditions (Snow Date) 9:00 AM 7 CJMEA Intermediate Band Rehearsal 9:00-1:00 PM MARCH 7 CJMEA Intermediate Chorus Rehearsal 9:00-1:00 PM 1 SJBODA Junior High Band Concert 3:00 PM 7 CJMEA Intermediate Orchestra Rehearsal 9:00-1:00 PM 2 NJSMA Executive Board Meeting 6:00 PM 7 CJMEA Intermediate Percussion Ensemble Rehearsal 9:00-1:00 PM 3 NJSMA Jr. HS Orch. Reh. (Full Reh./Strings Reseat) 4:00-8:00 PM 7 NJSMA Jr. HS Band/Chorus/Orchestra Auditions 4 NJRMEA Board Meeting, Seville Diner 10:15 AM
4 NJSMA Jr. HS Chorus Rehearsal 4:00-8:00 PM 5 CJMEA Intermediate Orch. Rehearsal (Snow Date) 5:00-9:00 PM 5 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM 6 CJMEA Intermediate Orchestra Rehearsal 5:00-9:00 PM 6 NJMAA Executive Board Meeting- Rutgers Club 8:30 AM 6 NJSMA Jr. HS Chorus Rehearsal 10:00-4:00 PM 7 CJMEA Intermediate Chorus Rehearsal 9:00-1:00 PM 7 CJMEA Intermediate Orchestra Rehearsal 9:00-1:00 PM 7 NJSMA Jr. HS Chorus Rehearsal 9:00-1:00 PM 7 SJCDA Elementary Chorus Festival 9:30-5:00 PM 8 CJMEA Intermediate Orchestra Concert 3:00 PM 8 NJSMA Jr. HS Chorus Concert 3:00 PM 8 SJCDA Elementary Chorus Festival (Snow Date) 9 NJAJE State Jazz Band Preliminary 5:00 PM 9 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM 10 NJAJE State Jazz Band Preliminary 5:00 PM 10 NJMEA Executive Board Meeting, NJMEA Office 5:00 PM 11 NJAJE State Jazz Band Preliminary 5:00 PM 11 NJSMA Jr. HS Orchestra Rehearsal 4:00-8:00 PM 12 NJAJE State Jazz Band Preliminary 5:00 PM 13 CJMEA Intermediate Band Rehearsal 5:00-9:00 PM 13 CJMEA Intermediate Percussion Ensemble Rehearsal 5:00-9:00 PM 13 NJAJE State Jazz Band Preliminary 5:00 PM 13 NJSMA Jr. HS Orchestra Rehearsal 10:00-4:00 PM 14 ASO/ASIO auditions 14 CJMEA Intermediate Band Rehearsal 9:00-1:00 PM 14 CJMEA Intermediate Chorus Rehearsal 9:00-1:00 PM 14 CJMEA Intermediate Percussion Ensemble Rehearsal 9:00-1:00 PM 14 NJSMA Jr. HS Orchestra Rehearsal 9:00-1:00 PM 15 CJMEA Intermediate Chorus Concert 3:00 PM 15 NJSMA Jr. HS Orchestra Concert 3:00 PM 16 NJAJE Region Jazz Band and Jazz Choir Auditions 5:00 PM 16 SJBODA Concert Band Festival 9:00-4:00 PM 17 NJSMA HS Band Festival 17 NJSMA Jr. HS Band Rehearsal 4:00-8:00 PM 17 SJBODA Concert Band Festival 9:00-4:00 PM 18 NJSMA HS Band Festival 19 NJSMA HS Band Festival 20 CJMEA Intermediate Band Rehearsal 5:00-9:00 PM 20 CJMEA Int. Percussion Ens. Rehearsal (Snow Date) 5:00-9:00 PM 20 NJSMA Jr. HS Band Rehearsal 10:00-4:00 PM 21 ASO/ASIO auditions 21 CJMEA Intermediate Band Rehearsal 9:00-1:00 PM 21 CJMEA Intermediate Percussion Ensemble Rehearsal 9:00-1:00 PM 21 NJSMA Jr. HS Band Rehearsal 10:00-4:00 PM 22 CJMEA Intermediate Band & Percussion Ensemble Concert 3:00 PM 22 NJSMA Jr. HS Band Concert 3:00 PM 23-26 CJMEA HS Concert Band Festival 6:00 PM 23 NJAJE Region Jazz Band and Jazz Choir Rehearsal 4:00-8:00 pm 27 NJMAA General Membership Meeting- Rutgers Club 9:00 AM 28 ASO/ASIO auditions (Snow Date) 28 CJMEA Elementary Honors Orchestra
DATE 13 13 13 14 15 16 16 17 17 18 18 18 18 19 25 25 25 25
NJAJE Region Jazz Band and Jazz Choir Rehearsal 4:00-8:00 pm NJSMA Executive Board Meeting 6:00 PM SJCDA Board of Directors Meeting 7:00 PM NJMEA Executive Board Meeting, NJMEA Office 5:00 PM CJMEA Elementary/CJMEA Intermediate Band Festival CJMEA Elementary/CJMEA Intermediate Band Festival NJSMA Jr. HS Band Festival 9:30-12:30 PM NJAJE Region Jazz Band and Jazz Choir Rehearsal 9:00-3:00 pm SJCDA General Membership Meeting 9:00 AM All-State Chorus Auditions-South 8:00-3:00 PM All-State Intermediate Orchestra Rehearsal 12:30-5:30 PM CJMEA Elementary Honors Band Day 8:30 AM NJAJE Region Jazz Band and Jazz Choir Rehearsal 9:00-3:00 pm NJAJE Region Jazz Band and Jazz Choir - CONCERT 3:00 PM All-State Chorus Auditions-North 8:00-4:00 PM All-State Int. Orch. sectionals/seating Auditions 12:30-5:30 PM NJ Elementary/ JH Honor Choir Festival-rehearsal 8:30-1:00 PM NJAJE Jazz Band Divisional State Finals 5:00 PM
MAY 1 NJMAA Executive Board Meeting- Rutgers Club 8:30 AM 2 All-State Intermediate Orchestra Rehearsal 12:30-5:30 PM 2 NJ Elementary/JH Honor Choir Festival-performance 4:30 PM 2 NJ Elementary & JH Honor Choir Choir Festival-rehearsal 8:30 AM 2 NJSMA Elementary Honors Band Festival 2 SJBODA Elementary Honors Band Day Festival 9:00-3:30 PM 4 All-State Jazz Band and Honors Jazz Choir Auditions 5:00 PM 4 All-State Jazz Ensemble and Honors Jazz Choir Auditions 5:00 PM 4 SJCDA Board of Directors Meeting 7:00 PM 8 NJSMA Jr. HS Chorus Festival 8 NJSMA Jr. HS Orchestra Festival 9 All-State Intermediate Orchestra Concert 3:00 PM 9 All-State Intermediate Orchestra Rehearsal 10:30 AM 11 NJSMA Executive Board Meeting 6:00 PM 12 NJMEA Executive Board Meeting, NJMEA Office 6:30 PM 12 NJMEA Full Board Meeting, NJMEA Office 5:00 PM 13 NJRMEA General Mtg., House by the Sea, Ocean Grove 10:15 AM 14 CJMEA Elementary Band Festival 15 CJMEA Elementary Band Festival 21 NJSMA HS Orchestra Festival 25 Memorial Day 27 NJSMA Elementary Chorus Festival 27 SJBODA Spring Membership Meeting 9:00 AM NJSMA Gen. Member Meeting/Dinner 6:00 PM JUNE 1 SJCDA Board of Directors Meeting 7:00 PM 5 NJMAA General Membership Meeting- Rutgers Club 9:00 AM 5 NJSMA Executive Board Meeting 6:00 PM 6 All-State Orchestra-Full Rehearsal 1:00-5:30 PM 8 NJAJE Executive Board Meeting 5:00 PM 9 NJMEA Executive Board Meeting, NJMEA Office 5:00 PM 13 All-State Mixed Chorus First Rehearsal 8:30-12:00 PM APRIL 14 NJ Elementary & JH Honor Choir Concert 4 Passover 20 NJSMA Executive Board Summer Meeting 5 Easter 21 NJSMA Executive Board Summer Meeting 5 NJSMA Elementary Honors Orchestra Festival
Distinguished Service Awards The NJMEA Board of Directors has initiated a Distinguished Service Award for those members who have honored themselves with faithful service to music education in public, private, and parochial schools of New Jersey. Past and present members of the NJMEA Board of Directors are also eligible for the DSA since they have dedicated much time and effort toward State projects related to music education. The third and fourth DSA categories include individuals and organizations outside the field of Professional Music Education and NAfME officers on both the National and Regional level. The final decision on DSA recipients will be made at the November meeting of the NJMEA Board of Directors. The criteria below should be carefully read and studied to insure maximum consideration by the DSA Committee.
CRITERIA FOR SELECTION Eligibility: Any member, person or group who has not previously Recipients Can Be Nominated from any one received the award. of these categories
1. Members who have accumulated a total of 25 years in the service of Music Education. Eighty percent of the years must represent full time service in the schools of New Jersey. The member does not have to be currently active as a teacher.
2. Members who have ten years of meritorious service and outstanding leadership in Music Education as a member of the NJMEA State Board of Directors. It is not necessary to have accumulated these years in a continuous sequence. 3. Individuals and organizations outside the field of Professional Music Education in recognition of their service to Music Education. 4. National and Regional NAfME elected officials who have initiated programs and projects that have benefited our state members and Music Education on a national and regional level.
Nominations: The nomination plus required data must be submitted by an NJMEA member. The nomination is then endorsed by the DSA Committee and presented for acceptance to the NJMEA Board. However, the NJMEA Board may recommend or authorize the award if no nomination forms have been received from the membership by the DSA Committee. This board authorization must receive a 70% majority vote of the board membership. Number:
DSA Committee discretion (to be decided annually)
Presentation: To the recipients by the NJMEA President or his or her designee at a mutually agreeable occasion such as the annual state workshop/conference, region meetings, region concerts or festivals, local concerts, and retirement affairs.
ESSENTIAL DATA The Following Information MUST Be Included: Nomineeâ&#x20AC;&#x2122;s Name: ___________________________________
Home Address: # & Street _________________________________________
State & Zip: ____________________________________________________
Application must be postmarked by October 15th Please provide the following information on separate sheets in the listed sequence. 1. This application 2. Name, address, phone and affiliation of nominee or group. 3. Name, address, phone of nominator. 4. Attach a vita for the nominee or group that is as complete as possible. 5. Summarize the achievements, contributions, or service on which the proposed award would be based. Include any evidence that the nominee or group would be receptive to such an award.
Please send two copies of these materials to: NJMEA, William McDevitt 443 Whitman Lane Williamstown, NJ 08094
Master Music Teacher Award To be eligible for consideration, the nominee must: A. have completed a minimum of ten years of music teaching in the schools of New Jersey (public, parochial, private or collegiate). B. be actively teaching and a member of NJMEA-NAfME for at least ten years. C. display teaching excellence, as the only other major criterion used in the selection process. Deadline: March 15th: Nominee: _________________________________________________________________________________________________ Street Address: _____________________________________________________________________________________________ City: __________________________________________ State: ______________________ Zip: ________________________ Telephone: _____________________________________
E-mail address: ____________________________________________
Teaching position: __________________________________________________________________________________________ School Name: __________________________________________ Street Address: _____________________________________ City: __________________________________________ Zip: ________________ County: ___________________________ Superintendent: ____________________________ Telephone: __________________ E-mail address: ______________________ Principal: _________________________________ Telephone: __________________ E-mail address: ______________________ Supervisor: ________________________________ Telephone: __________________ E-mail address: ______________________ Nominator: _______________________________ Telephone: __________________ E-mail address: ______________________ Please include with this form: 1. Academic background including degrees and certificates held. 2. Experience in the field of music including previous positions held, honors, and recognitions. 3. A minimum of two letters of reference supporting the candidacy 4. Additional supporting materials, including programs. photos, tapes, discs, public recognition, etc. 5. The candidateâ&#x20AC;&#x2122;s teaching schedule, including number of students in each class, total enrollment in the school, specific periods and times, and detailed directions to the school. Please check the website at: http://www.njmea.org/MasterMusicTeachers.pdf to see who has received this award in the past. Mail this application, together with accompanying documents to: Kathleen Spadafino Master Music Teacher Committee 1 Ashgrove Court East Brunswick, NJ 08816
Outstanding School Board Award The New Jersey Music Educators Association seeks nominees for the Outstanding School Board Award. NJMEA presents an award to a local school board at the Membership Luncheon during the February NJMEA State Conference. This award acknowledges and awards outstanding school boards who exemplify superior support and commitment for quality music programs throughout all the grades of the school district. Selection by the NJMEA committee is based on the following criteria: A local school board must demonstrate the following: A. A significant contribution in support of the development of the district music program. This should include superior programs of sequential, curriculum-based music education. B. Advocacy for music education within the school district. C. Financial support commensurate to support a superior music education program of general, choral and instrumental music. D. Willingness to accept the award if it is bestowed and to participate in publicizing it. Nomination: 1. Completed nomination form. 2. A statement from the School Board President or other officer of the school board in which a rationale is put forth for accepting consideration of the nomination. 3. A statement of support from the district superintendent which describes the district music education programs to be considered as evidence of achievement in music education. 4. A letter of support from two or more of the music teachers. 5. A letter of support from two local citizens, public officials or parents. 6. A black and white photograph of the school board suitable for publicity purposes including a list of their names as they are in the picture and the number of years they have served on the board.
Outstanding School Board Award This form should be completed by the local school district and the nominator. Name of school district ______________________________________________________ School district address
School district telephone number _______________________________________________
Please answer the following questions in support of your nomination. Use a separate sheet. 1. How long have the members of the school board served? (Give names and length of service.) How long is a single term? 2. Describe how the board has contributed to the development of music education within the school district. 3. Describe any exemplary music programs in the school district that have been developed and implemented under this boardâ&#x20AC;&#x2122;s direction. 4. Have students or programs in the school district won awards for achievement or recognition in music? 5. How have members of the school board been active advocates for music and arts education? 6. Please add any other information that supports your nomination. Signatures:
Superintendent of Schools _______________________________
School Board Chairperson _______________________________ Date _____________________ District Music Coordinator _______________________________ Date _____________________ Nominator _______________________________ Date _____________________ Send the form, photograph, and support materials to:
NJMEA, William McDevitt 443 Whitman Lane Williamstown, NJ 08094 Recommendations must be postmarked by October 15th
School Administrator Award Awards and presentations are made annually to outstanding school principals and/or superintendents who demonstrate support for and commitment to high-quality arts education programs in their schools. The influence of such administrators is a major factor in improving music education in school systems across the state. One elementary school principal, one secondary school principal and one school district superintendent may be selected to receive this award. Individuals holding titles as assistant principal and assistant or associate superintendent also qualify. Administrators receiving awards will be notified by NJMEA and a presentation honoring them will take place at the Membership Luncheon at the February NJMEA State Conference.
C. The administrator must be an active advocate for arts education in the school and community. D. A financial commitment to music programs must be demonstrated in the school or school district. E. The administrator must show strong leadership, good school management, and good rapport with teachers, parents, students, and other school administrators.
Nominators must submit the following for each administrator: 1. Completed School Administrator Nomination form verified and signed by the nominator. 2. Resume of nominated administrator. 3. Two letters of support, including one from the music education faculty in the administrator’s school or district. 4. A picture of the administrator suitable for publicity purposes. 5. Name and address of the administrator’s local newspaper, television and radio station where applicable. 6. Additional support materials such as press clippings if available.
Selection by the NJMEA committee will be based on the following criteria:
A. The school or school district under the administrator’s supervision must have an exemplary music program, with a majority of the music staff holding NJMEA membership. B. The administrator must have served in the administrative position in the same school or district for no less than three years.
Application must be postmarked by October 15th School District _________________________________________________________ Send the form, photograph, and support materials to: Selection (check one) Elementary Principal __________ NJMEA, William McDevitt Secondary Principal __________ 443 Whitman Lane Williamstown, NJ 08094 Superintendent __________ Nominee’s Name ____________________________________
School Address ______________________________________________________________________________________________________ Please answer the following questions on a separate sheet in support of your selection. This form must be signed by the nominator and the administrator nominated and must be accompanied by a resume, two letters of support (one from a member of the music faculty), a publicity photo, and a list of local media and their addresses. 1. How long has the school or school district been under the administrator’s supervision? 2. Describe some of the features of the school or district under the administrator’s leadership that demonstrate how the music program is exemplary. Please include in your description answers to the following: a. Describe the music curriculum offerings and time allotment for students. b. How have music programs in the school/district been expanded or improved as a result of the administrator’s efforts? c. Have students or programs in the school or district won awards for achievement or recognition in the arts? 3. How has the administrator been an active advocate for music and arts education in the school and community? 4. How has this administrator demonstrated financial commitment to music programs in his or her school/district? 5. Give examples of the administrator’s strong leadership, good school management, and good rapport with teachers, parents and students. 6. Add any other information that supports selection of this administrator.
Nominator’s Signature ______________________________________
Administrator’s Signature ____________________________________ Date ____________________________________
2014 NJMEA ALL-STATE OPERA FESTIVAL
Stevie Rawlings, Paramus HS - Festival Chair Solo/Ensemble Auditions: (no costumes) Fri., Oct. 24, 2014, 4:30 PM Festival Date: Sat., Nov. 15, 2014, 9:00 AM, Concert at 3:00 PM Audition and Festival Site: Paramus High School, East 99 Century Road, Paramus, NJ 07652
The NJMEA Opera Festival provides a unique opportunity for the most talented students in your chorus to perform opera literature, receive a critique, and attend a clinic and workshop. An aria from any opera is acceptable. To be considered for performance on the Festival day, soloists and ensembles must audition on the separate audition day. The term “ensemble” is used to designate any group other than a solo, e.g., duet, trio, and so on. A student may attend only the clinic and workshop on the day of the Festival and not perform a solo or in an ensemble selection, and therefore does not have to audition. We do require all students to sing in the chorus performances on the Festival day. The audition also serves as a competition for the designation of recipients for The Governor’s Awards - Best Male and Female Soloists, and Best Small and Large Ensembles, and also to vie for the C. Scripps Beebee Scholarship of $500. The chorus will sing three selections, the titles of which will be sent out via e-mail to sponsoring directors upon receipt of applications. Judging results (scores and written comments) and those accepted to perform on the Festival day will also be e-mailed to directors. Teachers, please prepare your students for the chorus numbers as time is limited on the Festival day. Concert dress is semi-formal or in character costume, your choice. Audition/Participation Fee is $20.00 per student. Each participating student must fill out an application. Any voicing and any number of students may register. Directors, send all applications with ONE check payable to the NJMEA and enclose a copy of your current NAfME (formerly MENC) membership card postmarked by Saturday, October 18, 2014 to Michael Kallimanis, All-State Opera Festival Audition Chair, Waldwick HS/MS, 155 Wyckoff Avenue, Waldwick, NJ 07463. After Oct. 18, applications will not be accepted. Sponsoring directors need not attend the audition but must be present from 10:30 AM until the end of the concert on the Festival day to assist with events. More info, e-mail only - MrKOrchAuditions@aol.com. Phone for emergencies on 10/24 or 11/15 only: 201-370-0423. STUDENT INFORMATION: (Please print neatly, use ball-point pen only). FIRST NAME ________________________________________
LAST NAME ________________________________________________
HOME PHONE ______________________________________ E-MAIL ____________________________________________________ GRADE (Circle one)
CHORUS VOICE PART _________________________________________________
Check all that apply: Solo (audition required) ____________ Ensemble (audition required) ____________ Chorus______________ Write the aria/ensemble selection title, opera name, composer and your accompanist’s name on the back of this application. A professional accompanist is available for $25.00 cash for each day of service, to be given directly to the accompanist. (DO NOT MAIL THIS FEE with your application - bring it with you in a sealed, labeled envelope with your name.) Check here if you will need a professional accompanist: ___________________ BE SURE TO BRING YOUR MUSIC! CHORAL DIRECTOR INFORMATION: FIRST ________________________________ LAST ____________________________________ NAfME # ________________________ SCHOOL________________________________________________________ E-MAIL__________________________________________ ADDRESS___________________________________________ TOWN_________________________________ ZIP__________________ SCHOOL PHONE _______________________ HOME PHONE_________________________ CELL PHONE _____________________ CONTRACT ENDORSEMENTS: I certify that I will accept the decision of the judges as binding and if selected, will memorize my music, (chorus music need not be memorized) and dress appropriately. I am aware that I must attend the entire Festival, Saturday, November 15, 2014. STUDENT SIGNATURE: ______________________________________________ DATE: ______________________________________ As parent/guardian, I give permission for my child to apply to the 2014 NJMEA Opera Festival. I understand that the NJMEA does not assume responsibility for illness or accident. I further attest that I will assist my child with obligations related to this activity. Further, I grant to the NJMEA the right to take photographs of my child in connection with the 2014 NJMEA All-State Opera Festival as well as solo and ensemble audio/video recordings. I authorize the NJMEA, its assigns and transferees, to copyright, use and publish the same in print and/or electronically. I agree that the NJMEA may use such photographs of my child and the ensemble recordings with or without name and for any lawful purpose, including for example such purposes as publicity, illustration, advertising, and Web content, without compensation. PARENT SIGNATURE: ________________________________________________ DATE: ______________________________________ We endorse this applicant as an outstanding member of our school choral program. The director will attend the entire Festival day or provide an approved substitute who is also a current NAfME member. SCHOOL DIRECTOR: ________________________________________________ DATE: ______________________________________
MAY 2014 SIGNATURE: ___________________________________________ 71 TEMPO PRINCIPAL’S _ DATE: ______________________________________
All-State Orchestra High School Scales Revised 3/16/13 All scales are to be memorized. Please no vibrato. Judges/Audition Chair will select which scale(s) is/are to be played. A metronome tempo will be given before each scale. Students will not receive extra points for additional octaves or a faster tempo. VIOLIN All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 3 octaves, 8 slurred to a bow as 8th notes, with the quarter note = 120mm G Major Arpeggio D Major Arpeggio F Major Arpeggio The 3 arpeggios above must be played in the following manner: 3 octaves slurred as 8th note triplets (3 to a bow) with the quarter note = 80mm D Melodic minor E Melodic minor F# Melodic Minor The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm VIOLA-CELLO All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 3 octaves, 8 slurred to a bow as 8th notes, with the quarter note = 120mm C Major Arpeggio E Major Arpeggio Bb Major Arpeggio The 3 arpeggios above must be played in the following manner: 3 octaves slurred as 8th note triplets (3 to a bow) with the quarter note = 80mm G Melodic minor A Melodic minor C# Melodic Minor The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm BASS All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 2 octaves*, 4 slurred to a bow as 8th notes with the quarter note = 120mm E Major Arpeggio D Major Arpeggio Ab Major Arpeggio The 3 arpeggios above must be played in the following manner: 2 octaves* slurred as 8th note triplets (3 to a bow) with the quarter note = 72mm G Melodic minor F Melodic minor C# Melodic Minor The 3 minor scales above must be played in the following manner: 2 octaves* separate bows as quarter notes with the quarter note = 120mm *No octave drop.
All-State Intermediate Orchestra Scales Revised 3/19/11 All scales are to be memorized. Please no vibrato. Judges/Audition Chair will select which scale(s) is/are to be played. A metronome tempo will be given before each scale. Students will not receive extra points for additional octaves or a faster tempo. VIOLIN 9 Major scales: D, Eb, E, F in 2 octaves G, Ab, A, Bb, C in 3 octaves VIOLA 9 major scales: G, Ab, A, Bb, in 2 octaves C, D, Eb, E, F in 3 octaves CELLO 9 major scales: G, Ab, A, Bb, in 2 octaves C, D, Eb, E, F in 3 octaves Violin, Viola, Cello scales must be played in the following manner: Separate Bows: each note will be played as a quarter note with the quarter note = 104mm. Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm. BASS 9 major scales: G, E, F, Ab, in 2 octaves* A, Bb, C, D, Eb in 1 octave* *No octave drop. Bass scales must be played in the following manner: Separate Bows: each note will be played as a quarter note with the quarter note = 104mm. Slurred Bows: 4 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.
2014-2015 All-State High School Orchestra Solo List Please check the solo list at njmea.org for up-to-date information. The online list supercedes lists printed in this magazine.
Concerto in g minor
Handel/Casadesus Concerto in b minor 1st mvt Editions Max Esching Available on IMSLP- http://imslp.org/wiki/Viola_Concerto_in_the_Style_of_Handel_(Casadesus,_Henri)
Sonata in G Major
1st and 2nd mvts
Sonata #4 in g minor
2nd and 3rd mvts
2014-2015 All-State Intermediate Orchestra Solo List INSTRUMENT COMPOSER
1st Air Varie on a theme by Pacini
Five French Dances (Lâ&#x20AC;&#x2122;Agreable)
Dances II and V
Suzuki Book 5
CELLO Squire Tarantella
BASS Reinagle Two Classical Pieces for Double Bass and Piano All
From String Festival Solos Level 2-3
2014-2015 All-State High School Band Solo List
Please check the solo list at njmea.org for up-to-date information. The online list supercedes lists printed in this magazine.
Sonata No. 2 in Eb - Mvt. 1 & 2
PUBLISHER/DISTRIBUTOR Kendor 10420 Southern 3773717/Hal Leonard 3773717
OBOE Sonata KV.370 - Mvt. 1 & 2 from Oboe Solos, ed/arr. Jay Arnold
Concertino in G for English Horn
*Eb SOPRANO CLARINET
Adagio and Tarentella
Carl Fischer CU526
Concerto for Clarinet KV.622 - Mvt. 2 & 3
*Eb ALTO CLARINET
Southern SS287/Hal Leonard 3773914
Bb BASS CLARINET
Southern SS287/Hal Leonard 3773914
*CONTRA BASS CLARINET
Southern SS287/Hal Leonard 3773914
Concert Piece, Op. 35
Eb ALTO SAXOPHONE
Sonata Mvt. 1 & 2
Southern SS-743/Hal Leonard 3774405
Bb TENOR SAXOPHONE
Concerto in g minor
Amsco Music AM40387/Hal Leonard 4023895
Carl Fischer W1736
Eb BARITONE SAXOPHONE Sonata Op. 6 - Mvt. 1. & 2
Sonata, Op. 18
HORN in F
Concerto No. 1, Op. 11
Lyric Suite - Mvt. 2 & 3
Praeludium, Chorale, Variations, Fugue
Editions Musicus Inc.
Capriccio Op. 116, No. 7 Brahms (From Fantasien Op. 116)
G. Henle Verlag HN120/ Hal Leonard 51480120
Imprompto caprice, Op. 9
Modulations Beck Alfred PERC9612 M.5. bottom note should remain E and not change to F Last page, next to the last measure beat 3, third 16th note is F
Southern ST 172/Hal Leonard 3774770 Hickman Music Editions HME124 International 1715 Remick/Alfred TS0046 Editions Musicus Inc Schirmer 50365300
Leduc A.L. 10381/Hal Leonard 57400175
Carl Fischer F1934
BATTERY PERCUSSION - Audition will be SNARE rudiments, solo & SR, and TRAPS studies (found on www.njmea.org) and mallet etude. SNARE
20th Century Orchestral Snare Drum Studies, McMillan Creative 10-1111 pg. 17 and 20 “Rhythms of Stravinsky, Vivace and Andante”
TRAPS Keyboard Percussion Etude #8 (pg. 22) Whaley Meredith Music 00317000 from Audition Etudes * Instruments Will Be Used As Needed
New Jersey Music Educators Association and New Jersey Band Association 2015 Wind Band Academy Ensemble Performance Application Dear Music Educator: Applications are now being accepted for ensemble (band) performance at the 2015 Wind Band Academy/NJMEA February Conference. If selected, the performance will be on Thursday morning, February 19, 2015, during the Wind Band Academy portion of the NJMEA Conference. All submitted applications will be considered, including ensembles that qualify for the annual concert band gala. The application process consists of submission of a recording from a LIVE performance and signed application. Deadline for submission will be June 30, 2014. The selection committee is comprised of members of the New Jersey All State Band Procedures Committee, one of whom will serve as Coordinator (non-evaluator), and the New Jersey Band Association. Two (2) ensembles will be invited to perform at the Wind Band Academy. Please do not hesitate to contact us if you have any questions. Sincerely, Thomas McCauley, NJBA President and Wind Band Academy Chair email@example.com Mindy Scheierman, NJMEA Coordinator of Selection Committee firstname.lastname@example.org
2015 Wind Band Academy Ensemble Performance Application School: ___________________________________________________________________________________________________ Address: ___________________________________________________________________, NJ ___________________________ School Phone: _____________________________________________________________________________________________ School Email: ______________________________________________________________________________________________ Director (print): ____________________________________________ Personal Phone: __________________________________ NAfME #: ____________________________________________ Expiration Date: ______________________________________ Name of performing group (Wind Ensemble, Concert Band, etc.): _____________________________________________________ Recording date of submitted live performance: _____________________________________________________________________ Send application and CD recording postmarked by June 30, 2014 to: Mindy Scheierman, Director of Bands Millburn High School 462 Millburn Avenue Millburn, NJ 07041 Director (signature): ____________________________________________ Date: ________________________________________________________
T h e Re g d io un
Central Jersey Music Educators Association cjmea.org
s we wind down another school year I want to thank the Executive Board for all the hard work they put in this year to make all of our events the great successes they were for our students. This summer we will spend time looking at how we can improve for next year. If you have any suggestions, please do not hesitate to reach out. Many of the changes and additions that have taken place in the past few years are due to suggestions and ideas from the membership. Additionally, if you have not already signed up for our new email list, please visit www.cjmea. org and sign up. We hope to get everyone signed up so we can email information in addition to posting it on the website, Facebook and Twitter. Thanks for all you do for the students in your schools and enjoy the rest of the school year and summer break! President-Jeff Santoro President@cjmea.org High School Band-Brian Toth email@example.com This has been another great year for Central Jersey’s High School Bands. We continued to see growth in the number of students auditioning for the ensembles; the Invitational Symphonic Band completed its second year; and we drew the maximum number of bands to the festival in
March once again. Many thanks go out to the teachers at JP Stevens (Andy & John); South Brunswick (Mark, Donna, & Casey); Montgomery (Adam, Kawika, & Mike); and Bridgewater-Raritan (Gary & James) for hosting our events this year. Next year will bring online applications for the high school ensembles. This will be a great improvement over the system currently in use. Please be on the lookout for information in the fall as we roll out the new registration method. I am currently seeking managers for the 2015 Wind Ensemble and Symphonic Band. You can see the dates in this month’s magazine. If you have interest please contact me. Have a great summer and best of luck getting your marching band off the ground! High School Chorus Hillary Colton & Jeffrey Woodworth firstname.lastname@example.org Special thanks to Wayne Mallette from Summit High School for filling in as the HS Mixed Chorus Conductor at the last minute. He did an amazing job. We have already locked in 2 notable College Conductors for next year’s HS Choruses. I cannot reveal their names until their contracts are signed! We saw a slight increase in student auditions this year. We are hoping to continue this trend net year. Start talking up Region Choir as you prepare your students for All State Auditions. The Region Choir audition is exactly the same as the All State audition minus the tonal memory. Your students will already be prepared! Have a great Spring concert season. May your choral dreams be realized. Intermediate Band-Seth Davis email@example.com It’s early March and the Intermediate Band is amidst rehearsals preparing this year’s concert program. By the time you are reading this, that March 16th concert will be over and another exciting year of excellent music making will be behind us. Special thanks go out to Ali Carraher at West Windsor-Plainsboro South High School for hosting our concert this year. We are currently preparing for the Elementary Honors Band Festival, which will happen at Rahway 7th & 8th Grade Academy (formerly Rahway Middle School),
hosted by Meg Spatz and Amara VanWyk on April 12th. Special thanks to Celeste Zazzali who is both the coordinator and librarian for this event! We are excited about the programs that our three elementary bands will be performing on that day. This year’s Elementary & Middle School Concert Band/Orchestra Festival is held on April 9th and 10th, and May 15th and 16th. The April dates are at Monroe Township Middle School and the May dates are at Freehold Township High School. Thank you to Mike Bartlett for coordinating this event again. This festival gives bands and orchestras a chance to perform for two qualified adjudicators, receive recorded feedback, and also hear performances from other schools in our region. It is a very positive experience for your students! As always, we are in need of volunteers to host rehearsals & concerts, manage ensembles, and conduct the Intermediate Region ensembles, as well as the Elementary Honor Bands. Next year, we will also need an audition chairperson and audition site for Intermediate Band and Orchestra. If you are interested in volunteering, please let me know! Intermediate Chorus-Nina Schmetterer firstname.lastname@example.org This spring season has brought many successful concerts! The Intermediate Choir introduced two choirs this year: SSA and SSAB, conducted respectively by Aida Gamboa and Tom Voorhis, and were a huge triumph. A big thank you goes to the teachers who hosted rehearsals in February and March: Judy Weiss (Hammarskjold), Cori Jensen (Woodrow Wilson), Kathy Reid (Churchill), and Shannon Maddolin (South Plainfield) and to our two outstanding managers Courtney Shiffman (Readington) and Kale Thompson (Scotch Plains). Thank you to all the intermediate teachers for helping at each rehearsal, especially to those who ended up on stage performing with the ensembles. We couldn’t have done it without you! The Treble Honors Choir had a wonderful concert in April. A big thank you goes out to all the teachers who worked hard to make the day a beautiful success. If you are interested in getting involved or more involved with any of the K-8 activities next year, please email me. Some fun activities you can volunteer for are: the InMAY 2014
termediate Choir, the Treble Honor Choir, K-8 General Music Workshops, and the Intermediate Choir Festival. We are looking for rehearsal hosts, and conductors Intermediate Orchestra-Penny Martin email@example.com We had another great concert season for the Intermediate Orchestra groups this year! Thank you to Brian McGowan for conducting the Intermediate Chamber Orchestra and Dorothy Sobieski for conducting the Intermediate String Orchestra. Special thanks to Jennifer Curan, Mia Angelella and Patty Gonsky for managing the two ensembles, as well as Joanne Manhardt and Susan Meuse for “filling my shoes” for the concert weekend. We couldn’t have done it without you! I am already looking forward to next year’s concert season. If you are interested in being part of the CJMEA orchestra groups by hosting, managing or helping out in any way, please feel free to contact me. Here are the dates, we need sites for all of them: Sat, February 7 – String Orchestra and Chamber Orchestra reading rehearsal, 9:00-1:00 pm Fri, February 27 -- String Orchestra and Chamber Orchestra rehearsal, 5:009:00 pm Sat, February 28 -- String Orchestra and Chamber Orchestra rehearsal, 9:001:00 pm Thurs, March 5 -- (Snow Make-up Only) String Orchestra and Chamber Orchestra rehearsal, 5:00-9:00 pm Fri, March 6 – String Orchestra and Chamber Orchestra rehearsal, 5:009:00 pm Sat, March 7 – String Orchestra and Chamber Orchestra rehearsal, 9:001:00 pm Sun, March 8 -- String Orchestra and Chamber Orchestra Concert, 2:00 pm, Report 1:00 pm Percussion- Yale Snyder firstname.lastname@example.org I hope everyone is having a wonderful 2014. There are so many great things happening around our region. Region 2 percussion was strongly represented at the NJMEA Convention in East Brunswick in February with both Chris Colaneri and myself each presenting percussion education workshops. I want to thank all that atMAY 2014
tended; both Chris and I were very pleased with the turnout and the response. It is wonderful to see so many educators wanting to improve their knowledge on percussion education in the 21st Century. We just finished our seventh annual Intermediate Percussion Ensemble Concert on March 16th. I want to thank marimba virtuoso, Greg Giannascoli from New Jersey City University for being a fabulous guest conductor. For these 11 middle school students to be able to work with someone of the caliber of Giannascoli was truly amazing to watch. The ensemble did a fabulous job with a very difficult program of music. I also want to thank Jared Judge of South Brunswick Schools for once again managing the ensemble. Bravo to all involved! I am looking for managers to get involved with both the High School and Intermediate Percussion Ensembles for 2015. For a non-percussionist having to teach percussion in your district, managing one of these ensembles will be a great chance to further your percussion knowledge to bring back to your students. As always, feel free to email me with any questions you may have.
North Jersey School Music Association njsma.com
f you’re like me you’ve spent the better part of the past several months rehearsing and presenting your school’s spring musical; rehearsing your jazz bands; preparing groups for the state concert band and jazz festivals; coaching students for region and all state jazz and chorus; rehearsing new repertoire for your spring concerts; and finalizing details for your spring trip. This all happens while juggling your home life and maybe – just maybe – finding some time to spend with your own instrument. Don’t forget all of those meetings with current and prospective students about scheduling for the coming school year; and as if there wasn’t already enough to do, let’s plan our marching band show for the fall while we’re at it. Nobody ever told us that the job of being a school music teacher would be easy, and nobody
needs to remind us how much of our own time and effort we all invest in our respective programs. No matter what our discipline might be or the grade level is that we teach, through all of this there is one constant I think we can all agree upon: that is to provide the very best musical experiences as can to our students. I thought of this after our third musical performance when I saw my trombone player, a senior, packing up his instrument with a huge smile on his face. The performance had gone well that night and I asked him how he felt. He said that he was tired but that he felt that the show went well. At that moment I thought back to his freshman year when he stepped onto the field at band camp for the first time; through all the years we had worked together; and all of the wonderful work he had done. I told him that he’s really beginning to realize just how enjoyable playing music is and that all of the lessons he has taken, all of the ensembles in which he had played, and all of the work he had done had brought him to this point in his musical life. He smiled and said, “Yeah – I’m really having a good time.” That did it for me that night. Knowing that over the past four years and through all of his experiences he had grown to the point where he truly understood what this thing we call “playing music” is all about was all I needed to hear and feel that night. I replied by saying, “and it only gets better from here.” He smiled and thanked me, and we wished each other a good night. I have always believed that as people we are the total of all of our experiences throughout our lives, and that in order to fully appreciate all that life as to offer we need to seek out as many exciting, varied, and challenging experiences as we can. So, too, are we as music educators charged with the duty of providing as many unique and musically meaningful experiences to our young musicians as we can. The best part is that we do this very thing on a daily basis, and while the work of it seems like it never ends we all know that in the end it is the best thing for our students. NJSMA and the members of the region board are proud to partner with all of our colleagues in North Jersey to offer some of the finest musical experiences to the students of our region, and over the past months we have witnessed just how meaningful these experiences are. From our honors ensembles to our festivals
the students in our region have showcased not only their limitless talents but also the drive and inspiration that their teachers give them each and every day. These musical experiences shape and mold these musicians, and they will stay with them for a lifetime. I thank all of my Region I colleagues for everything you do to bring the best to your students every single day. As the end of the school year approaches I wish you all the very best for successful concerts, awards events and banquets, and other end-of-year activities. It is an honor and privilege to represent the outstanding students, educators, and music programs in North Jersey and I thank and congratulate you all for everything you do to give your students the best musical experiences and opportunities each and every day. Please be sure to visit our website (www.NJSMA. com) for updated information, application, forms, audition requirements and anything else concerning our Region. As always, please contact me or any one of the board members if we can assist you in any way. Peter F. Bauer, President Orchestra Division Michael Holak Orchestra Division Chair Congratulations to all students who participated in this year’s region ensembles! Many thanks to this year’s conductors, Peter Brye who conducted our high school students, and Penny Martin who led our middle school orchestra. Serving as managers this year were Kim Chiesa from the Randolph School District and Larisa Skinner from the Passaic School District. Thank you as well to everyone who assisted as a reseating coach and sectional coach, as well as our hosts Eric Schaberg, Greg Dalakian, Pete Pettinelli, Loni Bach, Wendy Campbell and Alex Soares. Hosting our festivals this year were Karen Conrad from Millburn High School; Bill Cook from South Orange Middle School; and Eric Schaberg who hosted our first ever Elementary Orchestra Festival at Randolph High School. This event was possible due to the tireless efforts of our coordinators Kim Chiesa and Angela Girvan. Thank you to all who made our festivals successful! We’re always looking for as many people as possible to become involved in the region activities! Ideas for next year’s events are already being discussed! Please consider
becoming involved with region orchestra as a host, manager or sectional coach. It’s never too early to have these things secured. Please contact Michael Holak if you have any questions about any of these positions. Have a wonderful summer! Band Division Matthew Spatz and Gregory Mulford Band Division Co-Chairs The North Jersey band division has had an exciting 2013-2014 year. We have had two wonderful All North Jersey concerts featuring four fantastic bands from students in grades 7-12. The high school and junior high school concert band festivals continue to be annual celebrations of the education through ensemble performance. Our fourth annual High School Chamber Ensemble Concert was a huge success with 65 of the top woodwind, brass and percussion students performing a wonderful concert of chamber repertoire. Our third Elementary Band Festival will be held on Saturday, May 3, 2014 at South Orange Middle School. 185 sixth grade students will perform in two ensembles conducted by Russell Branch from Mendham Middle School and Kurt Zimmermann from Hopatcong Schools. Forty sponsoring directors will help run the oneday festival concluding with the concert at 2:00 pm. These successful region events do not happen by themselves. It takes many individuals and school districts working in cooperation to make region events work. Thank you to all of our conductors, adjudicators, managers, hosts, audition chairs and coordinators who make all these fantastic events happen. Anyone interested in conducting any region ensemble should log on to the region website and complete an application. If you would like to get involved as a host, manager, or assist in any way please contact Matthew Spatz or Greg Mulford. We look forward to working with you again next year! Choral Division Irene Lahr and Austin Vallies Choral Division Co-Chairs A Call For Help! As we start to wind down this school year we are always on the lookout for assistance in the division. While we are always grateful to see the same people helping out year after year, we would like to
call on those of you who have said, “Maybe next year.” Let’s get a jump on next year by starting off with a full list of volunteers who would like to help out with next year’s Choral Division. If you feel you can’t commit to an entire event we can always create co-manager and co-coordinator positions. If you are interested in hosting, coordinating, managing, conducting or accompanying, please contact us now so we can start to fill up our roster. The Junior High School Choral Concert on March 2nd was a successful event (even with all of the snow days)! Our conductors, Shawn Michael Condon and Viraj Lal, provided our student musicians with a rewarding, educational, and memorable experience. Thank you to everyone who assisted behind the scenes: Audition Chair – Deana Larsen, Grover Cleveland MS, Caldwell Audition Host – Christina Paulin, Clifton HS Rehearsal Hosts – George Glock, Memorial MS, Fair Lawn; Donna Girvan, Tenafly MS Concert Host – Lyle Leeson, Secaucus HS Managers – Vivian Brock, Slocum Skewes School, Ridgefield; Alison Caravano, Thomas Jefferson MS, Fair Lawn; Tricia Lalla, Union School, Rutherford; John Schmidt, Bloomfield MS Special thanks to Janelle Heisse from Pequannock Valley MS for playing the hammer dulcimer. Her accompaniment added that “something special” to “Sail Away.” Thanks to the Orchestra Division for finding our violinist, Katie Liu, from Mount Olive HS. She was an outstanding addition to the program. Your suggestions are always welcome with choosing conductors, adjudicators and even accompanists. We’d love to have a list of people you’d like to see in these positions in the future. If you have anyone that you’ve always wanted to have in one of these positions please let us know. If we have a large enough list we can even create a selection committee of interested volunteers. If you have any questions, suggestions, or would like to offer up yourself or your school, we’d love to hear from you by email at AVallies@ NJSMA.com or ILahr@NJSMA.com.
South Jersey Band And Orchestra Directors Association sjboda.org
ongratulations to all who were involved with the 37th Annual All South Jersey Junior High School Band Concert. The performances were outstanding. The conductors this year were Calvin Spencer (Monongahela MS) and Curtis Mount (Delanco Township School District). Jay Dorfman (Delran MS) and Patrick O’Keefe (Smithville ES) provided excellent assistance as managers for these ensembles. This concert would not be possible without the commitment and dedication of our colleagues. Glenn Motson (Gloucester City HS), our Junior High Band Coordinator, was responsible for organizing a wonderful event that our students will cherish for many years. Special thanks to Keith Hodgson and Derek Rohaly (Mainland Regional High School) and John Dreshen (Lower Cape May Regional HS) who offered their facilities for the rehearsals and the performance. We would also like to acknowledge Chris Janney (Haddonfield
Memorial HS) for his role as percussion equipment manager for all of our performing ensembles. Our 7th Annual Chamber Ensemble Concert was postponed due to weather. The rescheduled date was not available at the deadline for this article. Please visit the SJBODA website for the new date. The ensemble coaches are Brass: David Seals, (Attales MS), Percussion: Marc Spatz (Atlantic City School District), Sax: Timothy Powell (Rowan University), Woodwind: Mark Synder (Rowan University), Clarinet: Jennifer Hodgson (Southern Regional School District), and Flute: Debbie Krauss (Retired Cleary MS). This event is being coordinated by Keith Hodgson (Mainland Regional HS). Our 21st Annual High School Concert Band Festival showcased 15 ensembles this year. The performances by these groups are evidence of the many excellent instrumental music programs in South Jersey. Our festival coordinator was Mike Armstrong (Deptford HS) and Rick Dammers (Rowan University) was our host. Phil Senseney (Southern Regional ret.), Ben Fong (Reeds Road ES), and members of the Rowan CNAfME assisted in creating a positive experience for all of the participants.
Sue Moore (Mansion Ave. School), William Trimble (Wenonah Elementary School), and David Fox (Bowe Elementary School) are finalizing arrangements for the 22nd Annual Elementary Honors Band Festival which will be hosted by Jon Porto at Absegami High School on Saturday, May 3rd. Our conductors this year will be Steve Carey (Pitman HS), David Rothkopf (William Davies MS), and Jenna DiSalvio (Westhampton School District). The managers for the festival are Fred Rushmore (George L. Hess Educational Complex), Craig Martin (Richmond Avenue School), Andrew Palmentieri (Pitman MS) and Cindy Vidal (WCK Walls School). Our Spring Meeting will be held on Wednesday, May 28th at “Seven Star Diner” beginning at 9:00 am. Please call 609-4570590 or email Ben Fong at fongb@gtps. k12.nj.us if you are able to attend. Please continue to check the website, maintained by Scott McCarron (Delsea Regional High School), for the latest SJBODA updates. www.sjboda.org Joseph Jacobs Secretary, SJBODA
Pursue Your Music Career Undergraduate Programs Music (B.A.) Popular Music (B.A.) Classical Performance (B.M.) Jazz Studies (B.M.) Jazz/Classical Performance (B.M.) Music Education (B.M.) Music Management (B.M.) Sound Engineering Arts (B.M.)
Graduate Programs Jazz Studies (M.M.) Music Education (M.M.) Online and On-Campus Classes Music Management (M.M.)
2013-2014 Auditions On-Campus Auditions for Classical Degree Programs and B.A. Music Placement Tests January 31; February 14; February 28; March 14; April 4, 2014 Recorded Auditions Deadline
(Jazz and Popular Music Degrees only)
February 1, 2014
Wayne, New Jersey 973.720.2315 â&#x20AC;˘ wpunj.edu/music email@example.com 973.720.3466
facebook.com/WPUMusicDept TEMPO 82 twitter.com/WPUMusicDept
This column salutes the lives and careers of recently departed colleagues. It is the way NJMEA and NJRMEA can express appreciation for the work that they have done and the lives that they have touched. We mourn their passing and salute their contributions, which are the basis for music education in the state of New Jersey.
Brian T. Daniel
Michele J. Szwed
Brian T. Daniel, 45, of Sandusky, passed away early Sunday morning, October 6, 2013, in the Stein Hospice Care Center, Sandusky, after a lengthy battle with multiple sclerosis. Born on May 20, 1968, in Sandusky, the son of William Edward and Phyllis Regina (Will) Daniel, Brian was a 1986 graduate of Washington Township High School, in Sewell, NJ. He later graduated in 1992 from Glassboro State College, in Glassboro, NJ with a Bachelors of Arts Degree in Music Education. He was a music teacher for a few years in the Woodbury Public Schools (formerly the Woodbury Education Association) of Woodbury, NJ. Brian enjoyed reading, computers and was an avid Cleveland sports fan.
Michele J. Szwed 60, of Mahwah, NJ, passed away on Friday, January 31, 2014 surrounded by her family and friends. Michele was a lifelong parishioner of the Church of the Immaculate Heart of Mary. She was a Music Teacher at Riverdale Public School in Morris County for 36 years, and the Organist/Music Director at the Church
in association with
Carmen A. Hart, 67, of Forked River, NJ., passed away at home on February 10th, 2014, surrounded by her loving family. She was born in Elizabeth, NJ and she lived in Island Heights, Lavallette, and Farmingdale, before moving to Forked River in 2013. Carmen worked as a music teacher for the Berkeley Township Board of Education for 32 years before retiring in 2002. She was a member of the Island Heights Methodist Church, Island Heights, NJ., and was a choir member there. She was also a member of the NJ Education Association, the NJ Music Educators Association, and a member of Albert Music Hall of Waretown, NJ.
Graduate Summer Sessions Villanova, PA
Carmen A. Hart
of the Immaculate Heart of Mary for 10 years. She had been organist at the Shrine Church of St. Anthony's in Nanuet, NY up until her passing. Michele was a member of the Rosary Society at Immaculate Heart, a member of the Building Committee for the new church, Parish Liturgist, secretary of the Parish Council and instructor of the Mass Servers Corp
for Music Educators
June 29 - August 1, 2014
C e l e b r a t i n g 2 5 Ye a r s ! Ken Raessler, Tom Rudolph, Ed Lisk, Chuck Hagler, Michael Kumer, Ed Sueta, Quincy Hilliard, Marc Dicciani, Lois Fiftal, Tim Lautzenheimer, Jerry Nowak, Jim Croft, Michael Kumer, Barry Green, Betty Bertaux, Larry Edwards, Ruth Artman, David Brunner, Don Muro, David and Nancy Riley, John White, George Rabbai, Joyce Eilers, Robert Duke, Judith Jellison, Jim Engebretson, John Feierabend, George Hattendorf, Virgil Hicks, Floyd Richmond, Jim Kjelland, Arnie Lawrence, Jimmy Amadie, Michael Miles, Dorothy Straub, Marvin Rabin, Andy Dabczynski, Sally Albrecht, Denis DiBlasio, Justin Binik, Joy Hirokawa, Anthony DiQuattro, Steve Estrella, Chris Bluemel, Scott Watson, Michelle Przybylowski, Beth Ann Hepburn, Nick Wild, Janie Vance, Marguerite Wilder, Peter Boonshaft, Sandra Chapman, Allen Beck, James Barnes, Jay Fry, Shirley Harden, Phyllis Hentz, Donald Neuen, Barbara Tagg, Debbie Mello, Richard Strange, Frank Battisti, Lois Williams, Regina Gordon, Tim Sharp, Jared Spears, Janos Horvath, Darla Hanley, Russ Robinson,, Natalie Ozeas, Ken Peters, Hank Wajda, Dennis Waring, Mary Palmer, Cici Hunt, Sanna Longden, Marvalene Moore, Nick Page, Steve Mellilo, Janet Galvan, Sally Oâ&#x20AC;&#x2122;Reilly, Jacquline Dillon, Jeff Kern, Marc Svaline, Tim Peterson, Annie Laurie Wheat, Frank Tracz,, Sandra Prodan-Murphy, Frank Erickson 83 TEMPO
NJMEA 2013-2014 Board of Directors Executive Board
President, Joseph Jacobs Ventnor Middle School firstname.lastname@example.org 609-335-6429
Administration Ronald Dolce Retired email@example.com 732-574-0846
Corporate/Industry Ron Beaudoin firstname.lastname@example.org 301-662-2010
Past-President, Keith Hodgson
Advocacy Nick Santoro Retired email@example.com 732-246-7223
Early Childhood Music Ed. Amy Burns Far Hills Country Day School firstname.lastname@example.org 973-493-5797
President-Elect, William McDevitt Vineland High School email@example.com 856-794-6800 x2539
Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School firstname.lastname@example.org 973-766-5343
Guitar Tom Amoriello Flemington Raritan Schools email@example.com 908-284-7650
Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools firstname.lastname@example.org 732-686-1316
Band Performance Albert Bazzel Winslow Twp. Middle School email@example.com 856-358-2054
Music Teacher Education Al Holcomb Rider University firstname.lastname@example.org 609-921-7100 x8104
Communications (TEMPO/Web) Thomas A. Mosher, Retired email@example.com 732-367-7195
Choral Festivals Donna Marie Berchtold William Davies Middle School firstname.lastname@example.org 609-476-6241 x1013
Opera Festival Stevie Rawlings Paramus High School email@example.com 201-261-7800 x3069
Chorus Performance Kathy Spadafino, Retired firstname.lastname@example.org 732-214-1044
Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School email@example.com 732-613-6890
Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School firstname.lastname@example.org 732-919-2131
Retired Music Educators Beverly Robinovitz Retired email@example.com 732-271-4245
Mainland Regional HS firstname.lastname@example.org 609-317-0906
Region Executive Members
President, Peter Bauer Columbia High School email@example.com 973-762-5600 x1183 CJMEA President, Jeff Santoro W. Windsor-Plainsboro District firstname.lastname@example.org 609-716-5000 x5262 SJCDA President, Bill Yerkes West Deptford High School email@example.com 856-848-6110 x2220 SJBODA President, Ben Fong Reeds Road Elementary School firstname.lastname@example.org 609-365-1892
Collegiate Chapters/Technology Rick Dammers Rowan University email@example.com 856-256-4557 Conferences Marie Malara Sayreville Middle School firstname.lastname@example.org 732-525-5290 x2370
NJMEA RESOURCE PERSONNEL Area of Responsibility Name Email Address Administrative Matters..........................................................Joseph Jacobs................................................................ email@example.com All-State Band Coordinator................................................Donna Cardaneo............................................................ firstname.lastname@example.org All-State Chorus, Orchestra, Jazz Coordinator.....................Joseph Cantaffa................................................... email@example.com Association Business............................................................ Deborah Sfraga.............................................................. firstname.lastname@example.org Band Procedures Chair.........................................................Matthew Spatz................................................email@example.com Choral Procedures Chair................................................... Kathleen Spadafino..............................................................firstname.lastname@example.org Composition Contest.........................................................Robert Frampton....................................................email@example.com Jazz Procedures Chair............................................................. David May.....................................firstname.lastname@example.org Marching Band Festival Chair.............................................. Nancy Clasen....................................................... email@example.com Membership........................................................................ Deborah Sfraga.............................................................. firstname.lastname@example.org Middle/Junior High Band Festival.....................................James Chwalyk, Jr............................................. email@example.com Middle/Junior High Choral Festival..............................Donna Marie Berchtold ................................. firstname.lastname@example.org Music In Our Schools Month................................................. Amy Burns....................................................................email@example.com NJMEA Historian.................................................................Nick Santoro..............................................................firstname.lastname@example.org NJMEA State Conference Exhibits Chair............................. Nancy Clasen....................................................... email@example.com NJMEA State Conference Committee.................................. Ron Beaudoin......................................................... firstname.lastname@example.org NJMEA State Conference Manager.......................................Marie Malara................................................................email@example.com NJMEA/ACDA Honors Choir.............................................. Carol Beadle................................................. firstname.lastname@example.org NJMEA Summer Conference..............................................Joseph Akinskas.................................................... email@example.com November Convention – NJEA............................................ Nancy Clasen....................................................... firstname.lastname@example.org Opera Festival Chair............................................................ Stevie Rawlings...............................................email@example.com Orchestra Procedures Chair................................................... Susan Meuse......................................................... firstname.lastname@example.org Research.......................................................................Carol Frierson-Campbell.................................... FriersoncampbellC@wpunj.edu Students with Special Needs................................................ Maureen Butler........................................................... email@example.com Supervisor of Performing Groups......................................... Keith Hodgson.................................................... firstname.lastname@example.org Tri-M...................................................................................... Gail Posey..................................................................... email@example.com REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association............................ Carol Beadle................................................ firstname.lastname@example.org Governor’s Award for Arts Education................................... Stevie Rawlings ............................................. email@example.com NJ Association for Jazz Education........................................... David May.................................... firstname.lastname@example.org NAfME.................................................................................Joseph Jacobs................................................................email@example.com NJ Music Administrators Association......................................Ron Dolce................................................................. firstname.lastname@example.org NJ Retired Music Educators Association........................... Beverly Robinovitz............................................................email@example.com NJ TI:ME............................................................................ Rick Dammers.......................................................... firstname.lastname@example.org Percussive Arts Society..........................................................Chris Colaneri.......................................................... email@example.com
COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer............................................... Deborah Sfraga............................................................. firstname.lastname@example.org Editor - TEMPO Magazine.............................................. Thomas A. Mosher..........................................................email@example.com Web Master (njmea.org)................................................... Thomas A. Mosher..........................................................firstname.lastname@example.org
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NJMEA Past Presidents 1924 - 1926 1926 - 1930 1930 - 1930 - 1931 1931 - 1933 1933 - 1935 1935 - 1936 1936 - 1938 1938 - 1939 1939 - 1941 1941 - 1942 1942 - 1944 1944 - 1945 1945 - 1947 1947 - 1949 1949 - 1951
Josephine Duke R.W. Laslett Smith Jay W. Fay Wilbert B. Hitchner Thomas Wilson John H. Jaquish Clifford Demarest Mable E. Bray Paul H. Oliver K. Elizabeth Ingles Arthur E. Ward John T. Nicholson Frances Allan-Allen Philip Gordon Violet Johnson Samuel W. Peck
1951 - 1953 - 1955 - 1957 - 1959 - 1961 - 1963 - 1965 - 1967 - 1969 - 1971 - 1973 - 1975 - 1977 - 1979 - 1981 -
1953 1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 1983
Janet G. Gleason Henry Zimmerman Agnes B. Gordown Leroy B. Lenox Elizabeth R. Wood Harold A. Brown E. Brock Griffith Robert C. Heath Edward Brown Rudolph Kreutzer Charles Wertman Stephen M. Clarke Herman L. Dash Buddy S. Ajalat Alyn J. Heim Robert Marince
1983 - 1985 1985 - 1987 1987 - 1989 1989 - 1991 1991 - 1993 1993 - 1995 1995 - 1997 1997 - 1999 1999 - 2001 2001 - 2003 2003 - 2005 2005 - 2007 2007 - 2009 2009 - 2011 2011 - 2013
Anthony Guerere Joan Policastro Joseph Mello Dorian Parreott David S. Jones Anthony Guerere Sharon Strack Chic Hansen Joseph Mello Nicholas Santoro Frank Phillips Joseph Akinskas Robert Frampton William McDevitt Keith Hodgson
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